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SOME ACCOUNT
OFTHB
ENGLISH STAGE,
FBOM TH£
RESTORATION IN 1660 TO 1830.
IN TEN VOLUMES.
tw9oZ9 tiff wtvXaffifjLtnf taroptav 9vviAi{afAfy......,^yj^Qaius, p. 478,
ir Axr THiiro be ovxelookcd, ob kot accubatelt inserted, let
KO OHE FIND FAULT, BUT TAEE IHTO C0K8IDERAT10N THAT THIS
aiSTOBT 18 COICTILED FBOM ALL QUABTEBB.
VOL X.
BATH:
PRINTED BY H. E. CARRINGTON.
SOU> BY THOMAS RODD, GREAT NEWPORT STREET, LONDON.
1832.
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^ntntft at Jibtationm' i^all.
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CONTENTS.
Old Plays in Continuation.
Plays printed, but not acted — ^between 1660 and 1830.
Corrections and Additions to 9 vols.
Irish Stage.
See the last page.
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SOME ACCOUNT
lEngdi^ SbUe^ from i^t UtAovation
IN 1660 TO 1830.
OLD PLAYS, IN CONTINUATION.
Edward 4tth. part Qd.
At the opening of this play, King Edward had
invaded France — ^the scenes in France occupy a con-
siderable portion of the play — the rest of the piece
relates chiefly to Jane Shore and her husband — she
visits the prisons of the White Lion^ the King's
fiench, and the Marshalsea, with a view to give some
relief to the prisoners-- Cap t. Stranguidge and his
crew are condemned to death for having taken a
French ship — tho' they did not know that King Ed-
ward had made peace with the French King— Shore
had assumed the name of Flud — he is also condemned,
tho' he was only a passenger in Stranguidge's ship
—Jane Shore does not know her husband — she
promises to use her influence with the King for their
VOL. z. B
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OLD PLAYS.
pardon — Jaue Shore is brought before the Queen —
the Queen at first mocks her, and then treats her
with Icindness— the King enters — Jane Shore inter-
cedes for Stranguidge, &c. — the King refuses his par-
don, but afterwards grants it — Brakenbury, the Con-
stable of the Tower, takes Shore into his service —
the King dies — ^Jane Shore removes her effects to the
house of Mrs. Blague, who is under great obligations
to her — Mrs. Blague makes the strongest professions
of friendship for her, but on finding that a proclama-
tion has been issued against her, she turns her out of
her house, and appropriates Jane Shore's jewels, &c.
to her own use — Jane Shore, having finished her pe-
nance, is left to herself — Brakenbury brings her a
prayer book, and some relief in a cloth — Young Aire,
whose life she had saved, gives her a purse— Rufford
reproaches her — Mrs. Blague enters very poorly with
a clap-dish— Jane Shore pardons and relieves her —
Shore brings his wife some victuals — Aire and Shore
are taken into custody for having relieved Jane Shore
— Aire is hanged — Shore is pardoned— Shore dis-
covers himself to his wife — she swoons, and he sup-
ports her in his arms— he pardons her, and they both
die — the place, where they die, obtains the name of
Shore's ditch — the young princes are murdered in
the course of the play — in the last scene Richard the
3d enters crowned — Rowe had probably read this
play— when Jane Shore in his T. says she has not
eaten for three days — Shore replies — " Look here,
" my love, I've brought thee some rich conserves*^ —
this has been justly censured as unnatural — Hey-
wood, with more judgment, makes Shore say —
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OLD PLAYS. 3
<< Here Mistress Shore, feed on these homely cates,
<< And tiiere is wine to drink them down withal/'
17* Love's Mistress— see Psyche D. G. I674.
18. Four Prentices of London— see Reed at the
end of 1743-1744.
19. Fair Maid of the Exchange C. I607.
90. Golden Age I6II.
n. Silver Age 1613.
22. Brazen Age I6IS.
S3. Lancashire Witches 1634— this C. is said to
be written by Heywood and Brome.
The rest of Heywood's plays are not printed.
Thomas Goff.
Goff was born about the year 159^ —he was sent
to Westminster school, and at the age of 18 brought
in Student of Christ Church in Oxford — he died in
1627. — (^Lanffbaine.)
He wrote 4 plays, which were not printed till
after his death — 3 of them were reprinted in 16^6
— they had been acted by the Students of Christ
Church.
J • The Raging Turk, or Bajazet the 2d. — Baja-
zet in one scene kills two of his sons, and a faithful
general — he kills a third son by the assistance of an
assassin— he has three sons remaining — two of them,
Selymus and Achometes, rebel against him, but se-
parately, and in opposition to each other— Cherseo-
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OLD PLAYS.
gles, the viceroy of Greece, who is faithful to Baja-
zet, by a Btratagem causes the death of Selymus and
Achometes with that of two perfidious Bassas — he is
killed himself— Bajazet is poisoned, and succeeded
by his grandson, Soljmaian — several of the inferiour
characters are killed — Bajazet's brother is poisoned
by the Bishop of Rome— there is no female char^ten
2. Courageous Turk, or Amurath the First —
Amurath is dotingly in love with a Grecian Captive,
called Eumorphe— and determines to make war no
more— his nobles are displeased at this— and Amurath
cuts off Eumorphe's head with his own hands he
gains a great victory over the Christians, and comes
to survey the slain — Cobelitz, who is mortally wound-
ed, recovers himself sufficiently to stab Amurath —
this is the only incident that has any merit.
3. Orestes. Langbaine cautiously says, << How far
** our author has followed Sophocles in his Electra,
** or Euripides in his Orestes, I shall leave to the
" search of the learned reader'* — both the Editors of
the B. J), are so rash as to assert point blank, that
the plot of this play is borrowed from the Orestes of
Euripides, and the Electra of Sophocles— this T. be-
gins with the return of Agamemnon— Orestes and
Pylades are at this time young men — Clytemnestra
apd ^gysthus murder Agamemnon on the stage —
Orestes causes a report to be spread that he and Py-
lades had drowned themselves— all the Greek Tra«
gedians represent the murder of Agamemnon, by
jSlgysthus and Clytemnestra, as a matter of notoriety
— but in this play, Orestes is quite at a loss to know
who had killed his father, and goes to consult Canidia,
a Witch or Enchantress — in the 4th act Orestes and
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OLD PLATS.
Pylades return to court, di^uised as a physician and
his friend — a courtier overhears their plot — they kill
him to prevent a discovery — they are condemned for
the murder, but reprieved— chiefly on account of the
skill in medicine which Orestes is said to possess —
.Sgysthus and Clytemnestra enter in their night-
robes about to take physic — Orestes and Pylades
fasten them in their chairs— Orestes kills the young
son of jEgysthus and Clytemnestra, and gives each
of them a cup filled with the boy's blood — at last he
kills them also— the Argive nobles give the crown to
Tyndarus — he banishes Orestes, Pylades, Electra,
and Strophius — the last of them dies, seemingly of
a broken heart— Electra stabs herself— -Orestes goes
mad — Cassandra enters and rejoices at what has
happened — Orestes recovers his senses — he and Py-
lades run at one another with thir naked rapiers, and
die embracing each other — Electra is a character of
no importance — the little which she does is totally
different from the part assigned her by Sophocles
and Euripides — in the Ist scene of the 4th act, a
Nurse enters with the new-born child of .^gysthus
and Clytemnestra — she sings him a lullaby, and in
the course of the act the boy is big enough to plead
for his life — ^from this account it is plain that, except
themurder of Agamemnon and the madness of Ores-
tes, litde, or nothing, is borrowed from the Greek
Tragedians — yet the author in his Prologue (spoken
by himself) tells us that he presents a tale from Eu-
ripides.
In the 5th scene of the Sd act Orestes says —
** There was a player once upon a stage.
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6 OLD PLAYS.
** Who striving to preseut a dreary passion,
'< Brought out the urn of his late buried son,
** It might the more affect him, and draw tears :
<< But I, as if I had no passion left,
<< Not acting of a part, but really
*< In a true cause having my father's bones,
" His hollow skull, yet crawling full of worms,
** I cannot weep, no, not a tear will come."
Lee has been justly censured for making OBdipns
say that he had seen the Athenian stage — but the
anachronism in this speech (which in point of lan-
guage is perhaps the best in Goif's 3 plays) is truly
curious, as in addition to the absurdity of alluding
to the stage, some hundred years before the stage ex-
isted, the player mentioned by Orestes acted the part
of Electra, who is one of the D. P. of this very play
— the story is related by Aulus Gellius book 7. chap.
5. — *^ Polus, a celebrated Grecian actor, lost his son
*< of whom he was dotingly fond — after a certain time
** he returned to the stage, and acted Electra — instead
** of having an urn with the supposed ashes of Ores-
*< tes, he had an urn with the real ashes of his son —
« so as truly to feel the grief which he had to affect
" as an actor/*
Goff's 3 Tragedies were probably juvenile produc-
tions—be that as it may, he was evidently destitute
of judgment — the absurdities of our earliest drama-
tists are excusable, but when Goff commenced author,
Shakspeare had written nearly the whole of hi^ plays,
and the stage was reduced to some degree of regu-
larity.
Goff *8 4th play was a T. C. called the Careless
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OLD PLATS.
SbepherdesB — it was printed in 1656, and had been
acted at Salisbary Ck>urt.
'^Thomas Dekkar, or Decker.
Dekkar is said to have written (wholly or in part)
12 plays — and to have assisted in writing the Witch
of Edmonton — about 12 plays, which are not printed,
are attributed to him.
1. OldFortunatus— seeC. G. April 12 1819-
2. Satiromastix — see vol. 8 p. 568.
3 and 4. Honest Whore — see Reed 1 743-1744.
5. Wonder of a Kingdom— see vol. 3d of Old
Plays 1814-1815.
6. Match me in London — Tormiella is the daugh-
ter of Malevento— her father had promised her to
Gazetto — she elopes from Cordova with Cordo-
lente — they are married — he is a citizen and shop-
keeper of Seville— Malevento and Gazetto follow
them to Seville — the King's Procuress tells him
of Tormiella — he visits her in disguise, and falls
in love with her — ^he sends for her to court, and
makes her one of the Queen's attendants — the
Queen is offended and jealous of Tormiella — the
King endeavours to debauch Tormiella — she con-
tinues firm in her attachment to her husband—
at the conclusion, the King restores her to Cor-
dolente, and is reconciled to the Queen— there is
an underplot— Don John, the King's brother, wants
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OLD PLAYS.
to obtain the crown — in the last Boene, he renounces
his ambitions views, and gains the King's pardon —
this T. C. is a tolerably good play — it was printed in
1631, and had been acted at the Red Bull and the
Phoenix — the title seems to be a challenge to mateh
Tormiella in London, if one can — the King concludes
the play with saying that Tormiella has no parallel.
7* Northward Hoe — Greenshield had endeavoured
to seduce Maybery's wife, but without effect— he had
contrived to get her wedding ring from her — Green-
shield wishes to be revenged of her for her coyness
— for this purpose he meets Maybery at Ware, and
affects not to know him— Greenshield and Feather-
stone say that they had both of them been intimate
with Maybery's wife— Maybery is at first much en-
raged— but afterwards he is convinced of his wife's
innocence — Greenshield's wife pretends to walk in
her sleep — she gets into Featherstone's room— but
no harm happens at that time — at the conclusion,
Featherstone is taken in to marry a woman of the
town this is a moderate C. by Dekkar and Web-
ster—it was printed in 1607— it had been acted by
the children of Paul's — in the 4th act, Maybery says
to his wife — ** On with your riding suit, and cry
^* Northward Hoe — let my prentice get up before
<< thee, and man thee to Ware"— hence the name of
the play.
8. Westward Hoe, I6O7, was written by Dekkar
and Webster.
9. Wyat^s History, I607, was written by Dekkar
and Webster.
10. Whore of Babylon, I6O7.
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•LD PLAYS*
U. Roaring Girl— see R^ed at the end of 1743-
1744.
19. If it be not Good, the Divel is in it, 1612.
John Marston.
MarBton wrote 8 plays.
1. Antonio and Mellida — see 2d vol. of Old Plays
1814-1 815.
2. Malcontent — see 4th vol. of Dodsley 1744.
S. Parasitaster— see 2d vol. of Old Plays 1814-
1815.
4. What you will— ^ee ditto.
5. Insatiate Countess — Isabella Countess of Snevia
is discovered in mourning — not, as she says, for the
loss of her husband, but because he did not die
sooner — she marries Roberto Count of Cyprus— on
the wedding night, she falls in love with Guido
Count of Arsena-^she elopes with him to Pavia —
on seeing Gniaca Count of Gaza, who is Guidons
friend, she immediately falls in love with him — she
conceals Gniaca in her chamber, and from the
window refuses Guido admittance — Guido and
Gniaca fight — they come to an explanation, and
agree to abandon Isabella, whom they denominate
the Insatiate Countess — Don Sago, a valiant Spa-
niard, falls in love with Isabella — ^she instigates him
to revenge her on the two Counts— Don Sago shoots
Guido — he and the Countess are condemned for the
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10 OLD PLAYS.
marder^— she is executed — the C!ouDt of Cyprus, on
being deserted by his wife, turns Friar— just before
her death he enters, and gives her his pardon — there
is an important comic underplot — this is on the
whole a good play — the first edition is said to have
been printed in 1613— there is another edition in
1631,
6. Antonio's Revenge T. 1602.
7. Dutch Courtezan— see Revenge D. G. l680,
8. Wonder of Women, or Sophonisba T. 1606.
Thomas Middleton.
Middleton wrote S3 plays, and S masques — one of
his plays is not printed — some of them were only
written by him in part.
1. Phoenix— this is a good C. — it has been im-
properly called a Tragi-Comedy as there is nothing
tragic in it — the 1st edition of it is said to have been
printed in I6O7 — there is another edition in 1630 —
it had been acted by the children of Paul's — In the
account of all the plays printed before 1698, the plot
is said to be taken firom a Spanish novel, called the
Force of Love — the Editors of the B. D. say the
same — but few plays have less about love than this
— ^the Duke of Ferrara is persuaded by Proditor^
and some other courtiers, to send his son to travel
— the Prince, knowing his father to be old, thinks it
more advisable to stay at home in disguise-- by} this
mean he becomes acquainted with various abuses.
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OLD PLAYS. 11
and 18 even hired to murder the Duke— in the last
scene he discovers himself, and punishes the offen-
ders— this play is not divided into acts, hut the be-
ginning of one act is distinctly marked, as it is said,
— '< Toward the close of the musick, the Justice's
" three men prepare for a robbery" there is a
4M)nsiderable inaccuracy with regard to the Prince's
name-^Phoenix seems to be the name which the
Prince assumes in his disguise — Proditor twice ad-
dresses him by that name, having no conception that
he is addressing the Prince — yet, in the early part
of the play he says — ** PhoBnix shall not live many
" months*' — meaning thereby the Prince.
2. Mad World, n)y Masters— see the 5th vol. of
Dodsley 1744.
3. Trick to catch the Old One— see the 5th vol.
of Old Plays 1814-1815.
4. More Dissemblers besides Women — see vol.
4th of Old Plays 1814-1815.
5. Women beware Women — see vol. 5th of Old
Plays 1814-1815.
6. Mayor of Quinborough — see 11th vol. of
Dodsley 1744.
7. Changeling — see D. L. Nov. 7 1789.
8. Spanish Gipsy — see vol. 4th of Old Plays
1814-1815.
9. Witch— see vol. 6 p. 72.
10. Game at Chesse — this play was acted at the
Globe for 9 days successively in 1624 — In the In-
duction, ^atius Loyola discovers Errour asleep —
Errour had seen in a dream a Game at Chess ready
to be begun — Ignatius expresses his anxiety to see
the Game — after which the play begins, and Igna-
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12 OLD PLAYS.
tiui does not Bay another syllable — the D. P. are
the Chess men — the Whiles are Protestants — the
Blacks are Papists — at the conclusion, the Blacks
receive Check Mate, and are put into the bag — this
is rather a Satire divided into acts and scenes than a
r^ular play — it might be very entertaining originally,
but it has not much to recommend it to a modem
reader — the Spanish Ambassador complained to
James the First, that the King of Spain, the Conde
de Gondomar, the Bishop of Spalato, &c. had been
represented in this play in a rude and dishonourable
fieuhion — the players were severely reprimanded —
the play suppressed — and the author sent to prison
— (ChaXmers) — Middleton is said to have gotten out
of prison by presenting the following petition to
King James —
A harmless game, coyned only for delight.
Was played betwixt the black house and the
white.
The white house won — yet still the black doth
brag.
They had the power to put me in the bag.
Use but your royal hand, 'twill set me free :
< Tis but removing of a man, that's me. (B. D.J
Middleton was cited by the Council on Aug. SO
1624— the King died on March 9!7 1625— Middleton
would probably not have regamed his liberty easily,
if Gondomar's interest had not been on the decline,
and the intended Spanish match broken o£f — the
play is printed without a date — the Editor of the
B. D. supposes it to have been printed in 1624 — it
seems however not to have been printed till 1 625— in
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OLD PLAYS. 13
1625, CharleB the Ist was at war with Spain^ and
Middleton might print his play without fear of farther
molestation — to my copy there is a manuscript note
— " This is not the edition of 1625''— in the play, a
fat Bishop is one of the Whites — he had been a
Black originally, and goes over to their side again —
in the last page, there is said to be hardly room
enough in the bag for his '< Spalletto paunch'' — —
Gifford in a note on the Staple of News (p. 2470
observes — <* Antonio de Dominis, archbishop of
** Spalato, came into this country about 1622 —
'* under the pretence of having renounced the errors
<* of popery, he obtained considerable preferment in
** the church, and was for some time Dean of Windsor
" — Gondomar, who suspected his sincerity, set all his
** engines at work, and at length discovered the im-
" posture — Antonio then fled from England, and read
'' a second recantation at Rome" — Ben Jonson's
play was first acted in 1625 — one of the characters
says that the actor who played the Archbishop is
dead In the Game at Chess, the Blade Knight,
iriio is called '< The Fistula of Europe," seems to
be meant for Gondomar — in the Viigin Widow
Quibble says — '< Who would have conceived that Sir
*' Walter Raleigh's blood should have cured Gondo-
'^mor^s Rstula?" — and in the last scene of the
Northern Lass, Bulfinch says — ** Except it were
^' the Black Knight himself, or him with the Fistula."
11. Michaelmas Term — Easy is an Essex gentle-
man with a landed property of £300 a year — he
comes up to town — Quomodo is a rich draper-— with
die assistance of Shortyard and Falseligfat, he cozens
Easy out of his estate — Quomodo has a desire to
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14 OLD PLAYS.
know how his son, Sim, will manage the estate after
his decease— for this purpose he pretends to be dead
— Sim rejoices at his father's death — the supposed
widow sends for Easy, and marries him, immediately
after the funeral — Shortyard cheats Sim of the
estate — Easy forces Shortyard to restore to him the
title deeds of his property — ^there is a poor underplot
— in the Induction, Michaelmas Term is personified—
he tells the audience that the play has no concern
with law, and only presents those accidents which
might be supposed to happen in Michaelmas Term
— it seems that formerly persons who resided in the
country, rarely came to town except in Term time—
this is an indifferent C. — the 1st edition is said to
have been printed in 16O7 — there is a corrected edi-
tion in 1630.
12. Fair Quarrel — in the Ist act, a quarrel takes
place, between a Colonel, and Captain Ager —
the former calls the latter a son of a whore— each of
them is at this time unarmed — the Captain is a brave
man, but very scrupulous about fighting, unless he is
sure of the justice of his cause — he contrives to
sound his mother about the imputation thrown on
her — she at first protests that she had always been
faithful to her husband — ^but on finding her son reso-
lute about fighting with the Colonel, she is frightened
— and in order to prevent the duel, she falsely ac-
knowledges that she had been unchaste — the Colonel
and Captain Ager meet — the Captain refuses to
fight — the Colonel calls him a coward — Ager consi-
ders this as a Fair ground for a Quarrel — they fight
—and the Colonel is severely wounded — he becomes
sensible of the injury he had done to Ager — makes
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OLD PLAYS. 15
his will — and leaves his property to his sister^ on
condition that she should marry the Captain — the
play conclades with their anion, and the Colonel's
recovery — in the other part of the plot, Fitzallen and
Jane are mutually in love — she considers herself as
his wife, in every respect, except the mere ceremony
—Russell, who is her father, wishes to break the at-
tachment between them, and to marry his daughter
to Chaugh — for this purpose he causes Fitzallen to
be imprisoned under a false pretence — Jane is
brought to bed a Physician who had attended her,
presumes on his knowledge of this circumstance,
and wishes to be intimate with her — - she rejects his
solicitations — a day is fixed for her marriage with
Chaugh — the Physician tells Chaugh that Jane has a
child — Russell to save her reputation sends for
Fitzallen from the prison, and gives him his daughter
— Fitzallen acknowledges himself the father of the
child — Chaugh is a Cornish gentleman — he and his
roan, Trimtram, are comic characters — this is a good
play by Middleton and Rowley — it was printed in
1617, and had been acted by the Prince's servants.
13. Randall, Earl of Chester, 1602.
14. Blurt, Master Constable, C. 1602.
15. Your Five Gallants, C. J6O7.
16. Family of Love, C. 1608.
17. Roaring Girl — see Reed at the end of 1743-
1744.
18. Chaste Maid in Cheapside, C. 1630.
19. Widow- see T. R. 1682.
20. Old Law— see 4th vol. of Massinger, 1805*
21. No Wit, no Help like a Woman's— see Coun-
terfeit Bridegroom, D. G. I677.
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16
OLD FLAYS*
22. Any Thing for a quiet Life, C. 1662.
23. World tossed at Tennis 1620, Masque.
24. Inner Temple Masque, 16 19.
John Webster.
Webster wrote 6 plays — he is said to have assisted
Dekkar in writing 3 other plays.
1. White Devil, or Yittoria Corombona-— see
T. R. 1682.
2. Dutchess of Malfey— see L. L F. 1664 — the
1st edition of this T. is said to have been printed in
1623 — there is another edition in l640 — with the
following cast — Bosola=:I. Lowin : Duke Ferdinand
= 1. R. Burbage— 2. J. Taylor : Antonio = 1. W.
Ostler-— 2. R. Benfield : Cardinal = 1. H. Cnndaile
— 2. R. Robinson : Delio = !• Underwood : Silvio =
T. Pollard : Dutchess =: R. Sharpe : Cardinars
Mistress = L Tomson.
3. Appius and Virginia— see Unjust Judge, L. I. F.
1670.
4. Thracian Wonder — see vol. 6 of Old Plays,
1814-1815.
5. Cure for a Cuckold — see City Bride, L. I. F.,
1696.
6. Devil's Law-case, or When Women go to Law,
the Devil is full of Business — the scene lies at Naples
— a nobleman called Contarino is in love with lolenta
the sister of Romelio, who is a rich merchant — she
is in love with him— her brother wishes her to marry
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OLD PLAYS. 17
Ercole, idio is also in love with her— Ercole and
Contarino fight — they wound one another severely,
and, as it is supposed, mortally— Contarino sends his
will to Romelio— he had left every thing to lolenta
— ^Romelio, in the disguise of a Jewish physician,
stabs Contarino — the stiletto only performs an ope-
ration on Contarino, which his surgeons were afraid
to attempt Langbaine observes that a similar
accident happened to Pherasus Jason — see Valerius
Maximus book Ist — Contarino recovers, but keeps
himself concealed — Ercole also recovers— Leonora,
the mother of Romelio and lolenta, was secretly in
love with Contarino —Romelio tells her that he had
killed Contaiino — she meditates revenge, and en-
gages her woman, Winifrid, to assist her in her plot
— Leonora declares in open court, that Romelio is
a bastard — not the son of her husband, but of Don
Crispiano — Don Crispiano, who happened to be in
the court, discovers himself— Leonora and Winifrid
are convicted of having given false evidence — Ercole
comes forward, and accuses Romelio of having killed
Contarino —as he has no proof of his accusation, it
is decreed that Ercole and Romelio should decide
tbeir difference by single combat— Ercole and Ro-
melio fightp—the combat is terminated by a Capuchin
who declares that Contarino is alive— this is a good
play— it was printed in 1623 — it had been acted by
the Queen's servants.
TOUX.
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18 OLD PLAY$.
John Day,
Day wrote 7 plays — 2 of whidi are not printed —
he also wrote a Masque called the Parliament of
Bees. (B. D.)
\. Isle of Gulls— this is a good C— it is so called
because in the course of it, almost all the charac-
ters are gulled — Basilius, the Duke of Arcadia, had
retired to a desert Isle— he had sent a general chal-
lenge to all princes, that whoever could get his two
daughters out of his chaise, and could gain their
hearts, should wear his imperial crown— four princes
— Amintor, Julio, Lysander and Demetrius — endea-
vour to carry off Hippolita and Violetta — Lysander
is disguised as an Amazon, and under the name of
Zelmane — the Duke falls in love with Lysander, sup-
posing him to be a woman — the Dutchess falls in
love with Lysander, believing him to be a man— Ly-
sander appoints the Duke to meet him in the bower
of Adonis — he appoints the Dutchess to meet him
in the same place — he sends Manasses to keep
the appointment instead of himself— the Duke and
the Dutchess find themselves gulled— in the mean
time Lysander and Demetrius commit Hippolita and
Violetta to the care of Julio and Amintor, who are
disguised as Lacedemonians— instead of accompany-
ing the ladies, they go to the Duke for the sake of
telling him that they have cheated him of his daugh-
ters— Julio and Amintor keep possession of Hip*
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OLD PLAYS. 19
polita and Violetta, and laugh at Lysander and De-
metrios— in the underplot, Demetrius, who is dis-
guised as a woodman, pretends to be in love with
Mopsa, the daughter of Dametas — he promises to
marry her, but sends her to the chapel of Adonis on
a fooPs errand— 'he tells Dametas that a treasure is
hidden under Diana's oak— Dametas digs for it, but
finds only a copy of verses— the 1st edition of the
Isle of Gulls is said to have been printed in 1606-^
there is another edition in 1633 — it had been acted
in the Black Fryers by the Children of the Revels—
the plot is founded on Sir Philip Sidney*s Arcadia —
it has consequently a considerable resemblance to
Siirley's Arcadia.
2. Travels of Three English Brothers 1607-
3. Humour out of Breath C 1608.
4. Law Tricks C. 1608.
5. Blind Beggar of Bethnal Green C. 1659-
Cyril Tourkeur.
Toumeur is said to have written 3 plays — one of
them is not printed.
1. Revenger's Tragedy — see vol. 4th of Dodsley
1744.
2. Atheist's Tragedy, or the Honest Man's Re-
venge—this play was printed in I6I 1, and re-printed
in 179s— -Charlemont wishes to go to the wars— his
bther, Montferrers, wishes to detain him at home,
and for that reason refuses to furnish him with money
c 2
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20 OLD PLAYS.
— Cbarlemoiit*s uncle, D'amville advances him 1000
crowns — be takes bis leave of Castabella, with
whom he is in love, and sets off for Ostend — daring
his absence, Castabella is forced to marry D'amville's
elder son, Rousard —on the wedding day, Borachio»
a villain in the pay of D'amville, brings a false report
of Charlemont's death — Montferrers makes a wiUin
his brother's favour — as they are walking home at
night, D'amville thrusts him down into a gravel pit,
and Borachio puts an end to bis existence with a
stone — Charlemont, on his return to France, finds
Castabella M^eeping on his tomb — Borachio snaps a
pistol at him, but it misses fire, and he is killed by
Charlemont— as D'amville, in the 5th act, is ap*
plauding himself for the success with which his
worldly wisdom has been attended, his younger son,
Sebastian, is brought in as a corpse — Rousard dies
soon after — I^amville becomes nearly frantic —
Charlemont and Castabella are condemned for the
murder of Borachio— IVamville requests that be may
perform the office of the executioner — as he lifts the
axe to strike them, he gives himself a mortal wound
— before his death, he acknowledges their innocence,
and his own guilt — in the course of the play he had
attempted to ravish Castabella there is an under-
plot in which Levidulcia, the wife of Belforest
has an intrigue with Sebastian — they are discovered
— Belforest and Sebastian fight, and kill each other
— she stabs herself— the method which she takes to
convey Fresco and Sebastian out of her chamber
in the 2d act is borrowed from Boccace Day 7
Novel 6— and has been made use of in several other
plays — the Ghost of Montferrers appears 4 times^
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OLD PLAYS. 21
and there are other faults in this T.— yet it mast
be allowed to be on the whole a play of great
merit — lyamville, the Atheist, is a striking cha-
racter, and well supported throughout — Tourneur
has had the judgment not to put into his mouth
any sentiment of a dangerous tendency — the part
of lyamriUe would just have suited Kean— in the last
scene Charlemont says — ** Patience is the Honest
" Man's Revenge."
Nathaniel Field.
Field wrote S plays, and assisted M assinger in the
Fatal Dowry.
1. Woman's a Weathercock 1612 — in the Ist
scene, Scudmore is in raptures with a letter, which
he had received from fiellafront, and in which she
had vowed eternal constancy to him— he shows the
letter to Merill— Nevill says that Bellafiront is to be
married on that very day to Count Frederick — Scud-
more confronts Bellafront as she is going to church
—she treats him with scorn— Nevill, who had as-
sumed the disguise of a parson, performs the cere-
mony— ^in the course of the day, Scudmore gets ac-
cess to Bellafront in disguise — he reproaches her —
she pleads, that she was forced by her father to
marry the Count— she seems determined to kill her-
self rather than let the marriage proceed any farther
—Nevill invents a mask in honour of the bridal day
—Scudmore carries off Bellafront, and is married to
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SS OLD PLATS.
her by a real parson — Nevill avows that he had per-
formed the ceremony in the morning— this C. was
revived by the Duke's Company— (see L. I. F; I667)
— Collier reprinted it in 1829 — he does not men-
tion the revival of it, as he certainly ought to have
done.
S. Amends for Ladies — Langbaine says this C.
was wiitten as a sort of apology for the other— the
1st edition of it is said to have been printed in ]6l8 —
there is another edition of it in 1639 — it had been
acted at the Blacke-Fryers, both by the Prince's
servants and the Lady Elizabeth's — Ingen is in love
with Lady Honor— she is really in love with him,
but affects to discard him— she disguises herself as a
boy — her brother. Lord Proudly, gives Ingen a chal-
lenge—she discovers herself in the hope of prevent-
ing the duel — Lord Proudly insists that she should
marry an old Count — she pretends to consent— just
as the ceremony is about to take place, she says she
is dying, and desires to have a Physician and a Priest
sent for— the Physician proves to be Ingen in dis-
guise— he and Lady Honor are married — Ingen's
brother guards the door with a pistol till the marriage
is made indissoluble — this scene must not be particu-
larly described — there are two underplots— a Knight»
the husband of Lady Perfect, desires his friend, Sabtle,
to make trial of his wife^s chastity — this is taken from
the novel of the Curious Impertinent — but with this
difference that the lady continues virtuous— ^^Boold,
disguised as a woman, is engaged by a Widow for
her attendant — they go to bed together — ^but the
Widow will not allow him to take any liberties — at
the conclusion th^ are married — this is a good C. —
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OLD tULYB. 93
in the titlepage it is said to contain the merry pranks
of Moll Cutparse, or the Hamour of Roaring — Moll
Cntpanie is a part of no importance — in the tSd act
there is a scene with four Roarers.
Dr. Barten Holtday.
TEXNOFAMIA, or the Marriages of the Arts—
this C. was written by the author when Master of
Arts and Student of Christ Church in Oxford— and
acted by the Students of the same house before the
Uniyersity, at Shrove-tide — it appears from the Pro-
logue that it was intended to have been acted before
the King.
" Our poet • • • • and does bring
" What he prepared for our Platonique King :
'^ Deeming your judgments able to supply
" The absence of so great a Majesty.*'
The Editor of the B. D. says the Ist edition was
printed in 1610— Barker says 1618, which is much
more probable — Holyday has displayed great inge-
nuity in the composition of this I>ama, but from the
nature of the subject, and the great length of the
piece, it could hardly fail of being dull— at the con-
clusion, Geographus is united to Astronomia — Geo-
metres to Arithmetica — Poeta to Historia — and
Grammaticus to Rhetorica — Magus and Astrologia
are sentenced to depart from the commonwealth for
ever— in the 4th act there is a neat riddle — " It is
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S4 OLD PLAYS.
« not, and yet we see it — ^'tis like a picture, and yet
'< 'tis no picture — and it was drawn by a blind
<< painter*' — the solution is the rainbow as described
by Homer.
Wood (as quoted in the B. D.) tells us, that this
play was acted on Feb. 13 16I7, and with no very
great applause —but the performers being willing to
distinguish themselves before the King, were re-
solved, with permission, to act it again at Woodstock
— leave being obtained, it was accordingly acted on
Sunday evening Aug. S6 1621— the King was tired at
the end of the Sd act, and made some efforts to go,
but was with difficulty persuaded to sit it out, lest the
young men, who acted it, should be discouraged at
such a slight — ^this occasioned the following epigram,
" At Christ Church Marriage, done before the
King,
'' Lest that the mates should want an offering,
" The King himself did offer— What I pray?
" He offered twice or thrice to go away.^
{B. n.)
LoDowicK Carlell.
Carlell is said to have written 9 plays — one of
which is not printed.
1. Deserving Favourite — the first edition of this
play is said to have been printed in 1629— there is
another edition in 1659 — it had been acted at Black
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OLD PLAYS. 25
Frian — the cast was — King = Benfield : Duke =
Taylor: Jacomo = Lowin: Lysander =? Sharpe:
Count Ultrante = SwanstODe : Count Orsinio (the
Hennite) = Robinson : Gerard = Smith : Clarinda =
JohnHoniman: Cleonarda= John Tomson : Mari-
anas Edward Horton :— the Duke is the Deserving
Favourite of the King — the Duke and Lysander are
in loye with Clarinda — she is in love with Lysander
— Ljrsander, who is indebted to the Duke for his life
and fortunes, endeavours, from gratitude, to prevail
on Clarinda to marry the Duke —the Duke over-
hears/>ar^ of a conversation between Lysander and
Clarinda, which induces him to challenge Lysander
—they fight and are both severely wounded — Cleo-
narda, the King's sister, finds Lysander, and conveys
him to a lodge, where he is cured of his wounds —
she falls in love with him, but wishes him still to
continue faithful to Clarinda — the Duke's life is pre-
served by a Hermit, but he is reported to be dead —
in the last scene Lysander is on the point of being
executed for the murder of the Duke — the Duke ap-
pears alive— Lysander turns out to be Clarinda's
brother — the Duke is united to Clarinda, and Lysan-
der to Cleonarda— this T. C. is a good play both as
to plot and language, but it must be acknowledged,
that some of the principal characters act rather in a
romantic than a natural way.
2 and 3. Arviragus and Philicia^-see T. R. 1672
— the King of the Saxons had brought up Arviragus,
the Prince of Pickland, with his own children, Gui-
mantes and Philicia — Arviragus and Philicia had
fallen mutually in love — the King had appointed
Anriragus to command his army, and had promised.
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^6 OLD PLAYS.
if he should be victorious, to restore to him the king-
dom of Pickland, which he had usurped — Arviragus
returns in triumph with the Danish general as a
prisoner — but the King is so far from keeping his
promise, that he attempts to have him assassinated
— Arviragus leaves the court, and joins the Picts,
who had risen in arms, under the command of his
cousin Eugenius — ^the King detaches Eugenius from
his friendship for Arviragus, by promising him the
kingdom of Pickland, subject to a tribute-^Eugenius
and the Saxons are defeated by Arviragus — the King
concludes a truce with Arviragus, but with a treach-
erous view— Adrastus kills the King, and Guimantes
succeeds to the crown — thus the first part ends,
without the slightest conclusion to the story.
Part the 2d. Guimantes had broken the truce, and
obtained a victory, but with so much loss, that he is
unaUe to oppose the Danes, who had just landed^
Cartandes, Queen of the Danes, had vowed to sacri-
fice the first prisoner to Mars — Arviragus and Gui-
derius are brought in as prisoners, both being taken
at the same time — Arviragus is reprieved till he
shall be recovered of his wounds ~ Guiderius is the
son of Eugenius, and the sworn friend of Arviragus
— ^ they have an amicable contest as to who shall be
sacrificed — Cartandes overhears them, and 86nds
them both to prison — she is going to stab Arviragus,
but falls in love with him, and appoints him her
general — she gives him an intimation of her passion
for him, but he, from attachment to Phllicia, receives
it coldly — Guiderius faUs in love with Cartandes ^^
Philicia comes on in boy's clothes, and discovers her-
self to Arviri^us — Cartandes finds them together.
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OLD PLATS. S7
and suspects Philicia to be a woman — Arviragus
says she is the Prince of Scotland — they are sepa-
rated— Cartandes enters to Philicia, and oflFers her a
cap of poison to be drunk for the sake of Arviragus
— Philicia declines Uiis — Cartandes pretends that
she will drink it hereelf — Philicia dissuades her —
Cartandes says, that Oswald and Arviragus are to
fight on certain conditions — Arviragus and Guide*
rius fight — Guiderius does not know who his oppo-
nent is— Arviragus believes Guiderius to be Oswald
— Cartandes stops the fight, and says she only meant
to make trial of them all — she gives Philicia to
Arviragus and marries Guiderius— Eugenius and his
daughter Artemia enter — with the King disguised —
the King discovers himself, and marries Artemia.
4. Heraclius — see plays not acted 1664*
5 and 6. Passionate Lover — this T. C. is in 9
parts — they had been acted at Black Friars, but
were not printed till 1655, when they were pub-
lished by Alex. Goughe, the actor — at the beginning
of the play, the scene lies in Burgony — the King has
two sons— Agenor and Clarimant — Agenbr and Clo-
rinda, the King's niece, are mutually in love — they
conceal their attachment — Agenor makes Clarimant
an agent between himself and Qorinda — Clarimant
&ll8 in love with Clorinda — the King is induced, by
the artifices of Cleon to proclaim Agenor a traitor —
he sends a body of guards to take him prisoner —
Agenor makes his escape — the scene now changes
to Neustria — the King of Neustria insists that his
daughter Austella riiould marry, but leaves her to
the firee choice of a husband-H»he dislikes the Princes
who are already her suitors — Agenor enters incogs
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S8 OLD PLAY&
nito — Austella and Agenor fall in love with one
another at first sight — they are married between the
3d and 4th acts — ^Clorinda arrives in ^eostria — she
is attended by her woman and Cleon — Cleon at-
tempts to ravish Clorinda — Agenor hears her cries,
and comes to her assistance — he wounds Cleon, and
acknowledges his marriage— he presents Clorinda to
Austella — she is disguised as a boy — in the mean
time the old King of Burgony had died, and Clari-
mant had succeeded to the throne — he invades
Neustria with an ai*my superiour to any forces which
the King can raise— he demands that Agenor should
be surrendered to him — Agenor surrenders himself
— Clarimant resigns the crown to Agenor— and then
challenges him — his motive is to revenge the injury
done to Clorinda — Clorinda interposes, and prevents
the duel — Clarimant knows Clorinda, but does not
avow his knowledge of her — here the 1st part ends
— in the dd act of the Qd part, Clorinda resumes the
dress of her sex — the Prince of Aquitain, not know-
ing that the King had made peace with Clarimant,
comes to his assistance with a fleet — he makes love
to Olinda, the King's younger daughter— Cleon had
recovered of his wounds — he joins the Prince in his
plans — they carry off Qorinda and Olinda to the
Prince's ship — Clarimant follows, and is taken
prisoner — the Prince neglects Olinda, and falls in
love with Clorinda — Selina, Clorinda's woman, had
from the first acted a treacherous part towards her
mistress — to this she was induced by her love for
Cleon — she is now sensible that his professions of
regard for her are false — she determines to be re-
venged at all hazards — for this purpose she sets the
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OLD PLAYS. 29
ship on fire — the Prince declares that unless Clo-
rinda will marry him immediately, he will put Clan-
mant to death — a cry of fire is heard — the Prince
makes his escape, and carries Clorinda, Clarimant,
and Olinda with him as prisoners— they get to land
— ^the Prince again gives Clorinda her choice of the
two evils — Clarimant intimates that one thing would
make his death happy — she understands him, and
gives him her hand — at that moment Agenor and his
party enter — the Prince is killed, and the play ends
with the union of Clarimant and Clorinda — Cleon
had thrown himself and Selina into the sea — these
Tragi-Comedies, have on the whole considerable
merit — it appears from the Epilogue to the Ist part,
that the plot is borrowed from some story, but with
omissions and additions — in the Prologue to the dd
party the author says of himself—
" Most here knows
*' This author hunts, and hawks, and feeds his
deer,
'< Not some, but most fair days throughout the
year.
<< Such rude dull heavy scenes expect you then,
'< As after suppers vapours irom bis pen.^
These plays are called in the titlepage, the Pas-
sionate Lovers, but the running title is the Passionate
Lover — which is right — Clarimant being the only
person who can be called a Passionate Lover, that is
a person violently in love — Langbaine is correct —
but the Editors of the B. D., who had probably read
nothing more than the titlepage, call these plays the
Passionate Lovers.
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30 OLD PLAYS.
7. The Fool would be a Favourite, or the Discreet
Lover, was printed in 1657 — it is a good T. C. —
Gudgen, a foolish conceited fellow, the son of a
Yeoman, gives the first title to the play— he conies
to court with the view of becoming the Duke^s
Favourite— he is laughed at by the courtiers— and
at the conclusion, the Duke orders him to return to
his sheep and oxen — the Discreet Lover is Philan-
thus— Agenor, the son of the Duke of Milan, is the
particular friend of Philanthus— he is in love with
Lucinda, but slighted by her — Lucinda, in the Sd act,
falls in love with Philanthus — Anrelia, the Duke's
daughter, is in love with Philanthus, but is so iar
from avowing her passion for him, that she takes
pains to vex him — he is in love with her — but in
consequence of the treatment which he has received
from Aurelia, he is partly inclined to transfer his
aflfections to Lucinda — Agenor is jealous, and wounds
his friend, who will not defend himself — Philanthus
is reported to be dead — in the last scene, Agenor,
Aurelia and Lucinda are assembled at his tomb in
the greatest grief— he appears alive — Aurelia ac-
knowledges her love for him — Lucinda marries
Agenor*
8. Osmond the Great Turk T. 1657.
William Alexander Earl of Sterlike.
I n 1637 Lord Sterline published his plays and
poems in a small folio.
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•liD PLAYS. 31
1. CnMos-^this T. is foanded on the Ist book of
Herodotus— the Ist act consists of a Soliloquy by
Solon— in the 2d act the interview between Cnesus
and Solon takes place— in the 3d and 4th acts Ad-
rastos kiUs Atys, the son of CroBSus, by accident —
CriBsus determines to make war on Cyrus — in the
5th act Harpagus tells Cyrus the story of his child-
hood—this is very badly contrived, as Cyrus could
not be ignorant of what he had done when a boy —
Cyrus in return amuses Harpagus by telling him the
story of Panthea from Xenophon's Cyropsedia— a
messenger relates at full length the overthrow of
Cnrnus — his invocation of Solon, &c.— Crcesus con-
dudes the play.
2. Darius — Act 1st— Darius makes a long soliloquy
— act 2d — ^Alexander and Parmenio converse — act 3d
— Sisigambis, Statira, the wife of Darius, and ano-
ther Statira, his daughter, enter as prisoners — they
bewail their fate — Alexander consoles them— Bessus
and Narbazanes conspire against Darius — act 4th —
an Eunuch tells Darius that his wife is dead — ^Patron,
the leader of the Grecian mercenaries, cautions
Darius against the treachery of Bessus and Narba-
zanes— Darius speaks the last speech in this scene
— ^the next scene consists of a long soliloquy by
Darius in chains — not the slightest interval is allowed
for the events to take place, which are circumstan-
tially related by the messenger in the last act-
never was there a scene managed in a more bungling
manner, as nothing could have been more easy, than
to have made the Chorus, with which the act ends,
precede the soliloquy — act 5th— Polystratus relates
to Alexander and Hephestion the death of Darius—
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3i OLD PLAYS.
a messenger relates to Sisigambisi not only the death
of Darius, but also the manner in which he was
made a prisoner — ^the author makes the 2d syllable
of Darius short.
3. Alexandrsean Tragedie — act 1st— this play
begins immediately after the death of Alexander
the Great— his Ghost makes a long speech— act 2d
— his principal officers enter in consultation — ^they
differ in their opinions — Lysimachus and Seleucus
have a private conference — act 3d — Perdiccas
and Eumenes have a private conference — Roxane
relates to Olympias the particulars of Alexander's
death — act 4th — a conversation takes place between
Antigonus and Eumenes — and another between
Cassander and Lysimachus — Olympias concludes
the act with a long soliloquy — act 5 — Aristotle
and Phocion moralize— this is the best scene in
the play — Cassander, Lysimachus, Ptolemie and Se-
leucus form a confederacy against Antigonus — Seleu-
cus gives a circumstantial account of the death of
Eumenes— a messenger tells the Chorus, that Cas*
Sander had put Olympias and Roxane to death— and
made himself master of Macedon — a Chaldsean fore-
tells the fate of Antigonus, &c.— the author in this
T. has comprehended all the principal events relative
to Alexander's successors.
4. Julius Ceesar — act 1st — Juno makes a long
speech — ^act 2d — a conversation takes place between
CsBsar and Antony— and another between Decius
Brutus and Cicero — act Sd— -Cassius and IVlarcus
Brutus consult about restoring their country to
liberty — Brutus communicates his intentions to
Portia — act 4th — Brutus, Cassius, &c. detennine
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OLD PLAYS. S3
to kill Csdsar — Calpburnta dissuades Cmsar from
going to the Senate-house — Decius Brutus persuades
him to go — Caesar makes a long soliloquy — he is
killed between the 4th and 5th acts— in the 5th act,
Brutus and Cassius defend what they have done —
Antony proposes that Caesar should be buried
and his acts confirmed — Cicero exhorts to peace
--a messenger relates to Calphurnia the particulars
of Caesar's death.
Malone says that Alexander printed his Julius
Cffisar in I6079 before which time he had left
Seotland, and had been appointed gentleman of
the privy chamber to Prince Henry — Malone sup-
posesthat Alexander's play was printed before Shaks-
peare's Julius Caesar was acted.
William Alexander is said to have been made
a knight in 1614, and an earl in l6S3— ^A D.)—
his Tragedies have strongly the appearance of having
been written in Scotland, before the author was
acquainted with the London theatres and the
Englisfa plays — Malone says that in the first
edition of them, they abounded with Scoticisms,
which were corrected in the edition of 1637 —
—they are not the plays of a courtier, for Alexander
has not inserted any sentiments in them, which
would particularly recommend them to the favour of
James the 1st— Alexander appeal's to have been a
man of good natural abilities, but utterly destitute
of any skill in the Drama— his plays are sensible,
bot dull in the extreme— he begins each of them with
a speech of an enormous length, by way of Prologue
—and concludes each act with a Chorus.
VOL. X.
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34 OLD PLAYS.
Richard Brome.
Brome wrote 15 plays —all of which (except the
Jovial Crew, and the Northern Lass) are scarce
— next to an edition of Shirley's plays, nothing is
so much wanted as an edition of Brooie's — the Edi-
tor of the Old Plays in 1814-1815 says— '< A Gen-
'< tleman, who is possessed of a complete copy of
** Brome's works, has made some progress in pre-
** paring them for the press/'
In 1653 five of Brome's plays were pablished in
one volume.
]• A Mad Couple well Matched— see Debauchee
D.G. 1677.
2. Novella — Victoria, a Roman Lady, and Fabri-
tioy a young Venetian, were mutually in love— Fan-
taloni, Fabritio's father, had recalled him to Venice
— he insists that he should marry Flavia, the daugh-
ter of Gaudagni — Victoria comes to Venice-^calls
herself the Novella-- and pretends to be a courtezan
— she sets a very high price on herself^ in the hope
that no person will come up to it— the price keeps
off most of her admirers, but Swatzenburgh offers
her the proposed sum — she is obliged to tell him her
real plan, and solicit his pardon — ^at the conclusion,
Fabritio and Victoria are united — ^Burgio, who is
apparently her pimp, turns out to be her brother,
and a Friar— Francisco is in love with Flavia — he
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OLD PLAY^;. 35
gets admittance to her in the disguise of a pedlar wo-
man— carries her off, and marries her — ^this is a veiy
good C— it was acted at Black-Friers in 1632— it
appears from it that persons who spoke a Prologue
wore a particular dress
'^ Should I not speak a Prologue, and appear
'< In a ^XBvdn^ A formal beard and cloaks I fear
'< Some of this auditory would be vext," &c.
Thus in the Prologue to Love and Honour
^^ Him at an easy chaise we could provoke
'• To a kind doom, with this ffrave long old cloak**
3. Court Beggar — the Court Beggar is Sir An-
drew Mendicant— he hopes to get preferment through
the interest of Sir Ferdinand— Sir Ferdinand's ob-
ject is to seduce Mendicant's daughter, Charissa —
Charissa and Frederick are mutually in love — Men-
dicant opposes their union — Sir Ferdinand is sup-
posed to run mad for the love of Lady Strangelove
—in order to effect his cure, she admits him into her
bouse — ^the Doctor prevails on her to make Sir Fer-
dinand a visit in his chamber — Sir Feinlinand at-
tempts to ravish her — she calls for assistance — she
suspects that the Doctor was concerned in the plot
against her-*-she threatens him with a severe revenge
— ^he is so frightened that he acknowledges Sir Fer-
dinand is not really mad— this is a very good scene,
Imt it must not be particularly described — Sir Ferdi-
nand is conveyed to Mendicant's— Lady Strangelove
keeps Mendicant in talk while Chai'issa is manied
to Frederick — Mendicant supposes that she is going
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to be married to Sir Ferdinand — Lady Strangelove
gives her hand to Sir Ferdinand— for which Swayn-
wit assigns a humorous reason — ^this is on the whole
a good C— it was acted at the Cockpit in 1632
much is said about monopolies and projects, which
might entertain originally^ but is now very dull— one
of the projects is to help the watermen for the loss^»
** They've suffered by Sedans, under which pro-
ject
" The subject groans, when for the ease of one
" Two abler men must suffer."
Sedan chairs were introduced into England by the
Duke of Buckingham — ^they gave great offence at
first.
Lady Strangelove says-.** They shall be men
** Of science, art, and action/'
** Swaynwit. Of action Madam ? who do you
mean ? the players ?
" Lady Strangelove. Why not ? I love their
quality and them."
4. City Wit, or the Woman wears the Breeches —
Crasy is a young citizen who has fallen into decay
owing to his honesty and good Qature— his wife's
mother, Mrs. Pyannet Sneakup, is a woman of an
eternal tongue— she governs her husband — she had
bought a place at Court for her son, Toby — on Cra«
sy's failure she takes her daughter from him— Cras^
disguises himself as a physician— he is called in to
Mrs. Trjrman who passes herself for a rich widow—
her associate. Crack, tells Crasy Uiat her sickness is
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OLD FLAYS. 37
only ooanterfeit — Mrs. Tiyman pretends to make
her Will— she sends all the company out of the room,
and acknowledges to Crasy that she is a woman of the
town — Crasy next disguises himself as a messenger
irom Court — Mrs. Pyannet sends her husband to
Court with two jewels, which she had purloined from
Crasy — Crasy tricks Sneakup out of the jewels— in
the 4th act, he is dressed as a dancer— Ticket and
Rnffit are two courtiers, who hare a design on Mrs.
Crasy — Crasy gets £100 from one of them, and a
jewel from the other — after which he contrives to
have them both well beaten — Mrs. Tryman had pro-
mised to marry Linsy-Wolsey, a thrifty citizen— she
really marries Toby— previously to her marriage, she
makes Mrs. Pyannet give Crasy £100 to exempt her
from a supposed pre-contract with him— in the last
scene, Crasy enters in his old habit— he acknow-
ledges what trade Mrs. Tryman had followed — Mrs.
Pyannet offers her a chain to release her son from his
marriage— Tryman agrees to do so — she says to
Mrs. Pyannet — << Only on this condition, that if you
<< intend longer to be master of your husband, you
<* will henceforward do as I do— look you, wear the
" breeches" — Tryman proves to be Crasy's appren-
tice, Jeremy — Crasy, at the conclusion, promises to
restore to the different characters all that he had got-
ten by his slights, more than was his due from them
— this is a very good C — it does not appear at what
time, or at what theatre, it was acted— the Prol(^ue,
printed with it in 1653, says that the play —
•* Had past with good applause
<* In former times : for it was written when
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38 OLD FLAYS.
** It bore just judgment, and tbe seal of Ben ;
<* Some in this round may both have seen't and
heard,
" Ere I, that bear its title, wore a beard.*'
5. Damoiselle, or the New Ordinary— this C. was
not printed till 1653, but it seems to have been one
of Brome's earliest productions, as he says in the
Prologue
" Our playmaker — for yet he won't be call'd
" Author, or poet/*
Sir Humfrey Dryground is an old Knight, who has
spent the far greater part of his estate--^in the first
scene he borrows £1000 of Vermine to forward a
project he had formed in favour of Brookall's son —
whose father had been ruined by Vermine — ^the Da-
moiselle is Frances— the supposed daughter of Sir
Humfrey'-^she is said to have been bom and bred la
France — Sir Humfrey assumes the name of Osbright
— opens the New Ordinary — and entertains gratis for
two or three days — ^he proposes that one hundred
gentlemen should raffle for Frances, each of them
paying £20— Sir Humfrey releases. Wat from prison
to assist him in his designs—he employs him in the
first place to get Alice, Vermine's daughter, from her
father's house-— Wat is Vermine's son--4he project
for prostituting Frances is apparently so infamous,
that the rabUe attempt to pump Wat— he is rescued
from them, but is kicked and abused — ^Wat is a re-
probate, but he becomes so ashamed of the part as-
signed to him by Sir Humfrey, that at the close of
the play he determines to reform — Sir Humfrey ex-
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OLD PLAYS* 39
plains to the gentlemen, who were to raffle for
Frances, what his real design was — several of them
reaign their money to Frances — who turns out to be
a yoong man, and BrookalPs son — hy Sir Humfrey's
means he marries Vermine's daughter— Vermine is
reconciled to his children, and renounces his usuri-
ous practices — there are two underplots — ^this is on
the whole a very good C*
& Antipodes acted in 1638, and printed in 1640
— the author says it was generally applauded, and
well acted at Salisbury Court, but that it was in-
tended for the Cockpit stage, in the right of his most
deserving friend William Beeston — this is a very
good C. — Peregrine has studied Mandevile and
other writers of travels, till he is become disordered
in his wits — the JDoctor, who undertakes to cure
him, proposes that they should travel together to the
Antipodes — telling him that the Antipodes under
England are English—
<* To the exterior shew : but in their manners,
** Their carriage, and condition of life,
" Extremely contrary."
He then gives his patient a strong sleeping potion,
and conveys him to the house of a Lord — when
Peregrine wakes, a Flay is acted before him to repre-
sent the manners of the Antipodes — every thing is
done contrary to what is usual — two Sergeants with
drawn swords run from a Gentleman, who wishes
them to arrest him -— a Lawyer refuses all fees — a
Citizen makes a complaint of a Gentleman who will
not cuckold him, &c. &c. — at the condusion of the
Play, Peregrine recovers his senses — there is an un-
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40 OLD PLAYS.
derplot, in which Joyleeee, Peregrine's father, is
cured of his jealousy.
7. Jovial Crew — see 6th vol. of Dodsley 1744.
8. Sparagus Garden—see L. I. F. 1665 — Justice
Touchwood and Justice Striker are mortal enemies
— Young Touchwood and Annabel, the gran-
daughter of Striker, are mutually in love — Old
Touchwood threatens his son with his daily curse,
unless he will not only renounce his love to Annabel,
but do her family some extraordinary mischief —
Striker threatens to turn Annabel out of doors, if she
should ever look upon Young Touchwood — Annabel,
by the persuasion of her lover, pretends to be with
child by him — to give her pretence the appearance
of reality, she dresses herself with a cushion — this
circumstance is borrowed from May's Heir — Old
Touchwood is told, but under an oath of secresy,
what is supposed to have happened to Annabel — he
gives his son 100 pieces and directs him to go into
France-— he is so delighted that he can hardly avoid
breaking his oath — at the conclusion, the young
people are married, and the old ones reconciled —
there is an important underplot — Timothy Hoyden
comes to town to be made a gentleman — Monylacks
and his confederates cheat him out of £400 — Sir
Hugh Monylacks is the father of Annabel — he had
buried his wife, and spent his estate — he lives by
shifts— Annabel had been taken from him by Striker.
9. Northern Lass— see T. R. 1684.
Alexander Brome, who in 1653 had published
one volume of Richard Brome's plays, printed a
second volume of them in 1659 — this is the date of
the titlepage, but the Love-sick Court — Covent
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Garden Weeded, and the New Academy have the
date 1668.
10. English Moor, or the Mock Marriage — ^this is
a moderate C. — it consists of two plots — Theophilus
and Millicent are mutually in love — she is compelled
by her uncle to marry Quicksands, an old usurer —
some gallants present Quicksands with a masque of
horns — he is disconcerted, and agrees to put off the
consummation of his marriage for a month, on con-
dition that Millicent will black her face, and pass for
a Moor — Millicent makes her escape — PhiUis is
dressed as the Moor — Nathaniel Banelass supposes
PhiUis to be Millicent— he becomes so intimate with
her, that Quicksands vows he will be divorced — at
the conclusion, Theophilus is to be married to Milli-
cent — Banelass agrees to marry Phillis, whom he
had debauched before the play begins — in the other
plot. Mean well and Rashley have been absent from
their homes for a year — they are supposed to have
killed one another in a duel — - Arthur, MeanwelPs
son, and Lucy, Rashley's daughter, bear the supposed
loss of their fathers with resignation -— Theophilus,
Rashle/s son, and Dionysia, Mean well's daughter,
are desirous of revenge — Dionysia disguises herself
as a man — just as she is about to fire off a pistol at
Theophilus, Rashley and Meanwell enter — Arthur
marries Lucy — it appears from the Prologue that
the players had been silenced for some offence taken
by the persons in power— this may perhaps allude to
Middleton's Game at Chess.
11. Love-sick Court, or the Ambitious Politique
— Philai^s and Philocles are supposed to be twin
brothers, and the sons of Thymele by the late
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General — they are both in love with Eudina, the
Princess of Thessaly — they consult the oracle of
Apollo, and return with an obscure answer — they
have an amicable contention — each of them wishes
to resign Eudina to the other — ^Eudina gives neither
of them a preference — in the 5th act, Philargus is
supposed to be poisoned — the King insists that
Eudina should marry Philocles — Thymele declares
that Philocles is not her son, but the son of the
King and his late Queen — the supposed poison turns
out to be an opiate — and the play ends with the
marriage of Philargus and Eudina — the Ambitious
Politician is Stratocles — he is desirous of marrying
the Princes8--*the plot of the Love^sick C!ourt is very
improbable, but on the whole it is a pretty good
Comedy, or rather Play — Garrula, an old midwife,
and Geron, a foolish scholar, are laughable cha-
racters — Thymele, being conscious that Garrula
knows the secret about Philocles, is perpetually
afraid that she should divulge it — Alex. Brome in
printing the D. P. of this play has been guilty of a
shameful mistake, Philargus, instead of Philocles, is
said to be the Prince^ and the supposed son of the
late General.
12. The Weeding of the Covent-Garden, or the
Middlesex Justice of the Peace — this C. has no main
plot — Crosswill is a good character — he is sure to
object to whatever is proposed to him — he firequently
accedes to what he had a short time before rejected
— his children sometimes cany a point with him, by
affecting to desire just the contrary to what they
really wish — this play seems to have been written at
the time when Covent Garden was built — it is said
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OLD PLAYS. 43
that some of the houses lire not quite finished, and
that the Piazza will excel that at Venice — In Jan.
1671 -2 the Theatre Royal in Brydges Street and one
side of Covent Garden were burnt— die houses were
rebiult, but not the Piazza — Justice Cockbrain is
desirous to Weed Covent Garden, that is to drive out
of it the disorderly persons who seem at first to have
inhabited or frequented it — Brome says in a second
Prologue —
" Tis not amisse ere we begin our Play,
" T' intreat you, that you take the same surveigh
*• Into your fancy, as our Poet took,
" Of Covent Garden , when he wrote his Book j
" Some ten years since, when it was grown with
weeds,
** Not set, as now it is, with noble seeds,
** Which made the Garden glorious. And much
" Our Poet craves and hopes you will not grutch
^* It him, that since so happily his Pen
<< Foretold its faire improvement, and that men,
** Of worth and honour should renown the place,
" The Play may still retain its former grace.**
And in a second Epilogue —
*< Tis done. And now that Poets can divine,
" Observe with what Nobility doth shine
" Faire Covent-Garden. And as that improves,
" May we finde like improvement in your loves.'*
13. New Academy, or New Exchange ^this is a
pretty good C— Old Matchil is a merchant — he had
brought up Lafoy*8 daughter, GabrieUa, in England
— Old Lafoy had brought up MatchiPs son in France
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— in the Ist act, Matchil receives a forged letter to
tell him that his son had been turned out of doors
by Lafoy, and had afterwards been killed in a duel
— ^in return he turns Gabriella out of his house— his
own daughter, Joyce, is so attached to Gabriella,
that she will not be separated from her — Matchil
marries his maid — iMatchiPs half brother, Strigood,
is a worthless fellow — he persuades Joyce and Ga-
briella to assist him in opening a New Academy for
fashions— he has no scruples about prostituting them,
but they are virtuous — ^Young Matchil and Young
Lafoy arrive in London — they fall in love with Joyce
and Gabriella— at the conclusion each of them seems
to have married his own sister— Hardyman says they
must exchange wives, and marry in due order — La-
foy Jun. calls this a New Exchange— the young people
however are not completely married till after they
understand how they are related — there are two un-
derplots — Camelion is an uxorious citizen, who
seems determined not to be jealous of his wife— she
is very desirous to make him jealous — and at last he
is forced to think her too intimate with Valentine —
Valentine is her half brother— she knows him, but
he does not know her— Sir Swithin Whimlby pro-
poses to marry Lady Nestlecock, and to give his
niece, Mi*s. Blithe, to her son— Nehemiah Nestlecock
is a foolish youth— his mother dotes upon him — Mrs.
Blithe prefers Erasmus — Lady Nestlecock marries
Valentine.
14. Queen and C!oncubine — the King of Sicily
wins a battle chiefly by the valour of Sfoi*za, who is
his General — during their absence the Queen, Eula-
lia, had sent for Sforza's daughter, Alinda, to court
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—the King falls in love with Alinda— she is of an
ambitioos disposition^ and is much pleased with the
King's addresses to her — Sforza is very indignant
With his daughter, and threatens to take away her
life — the King, who had overheard their conversa-
tion^ sends Sforza to prison— he accases the Queen
of adultery with Sforza, and by means of false wit-
nesses obtains a divorce — Alinda is married to the
King— she is very desirous of having Eulalia mur-
dered— some persons are employed for that purpose
— but they all fail in their attempts — ^the King, at
the instigation of Alinda, condemns Sforza and his
own son to death — they are preserved by Petruocio
— the King is at last convinced of Alinda's wicked-
ness— he is reconciled to Eulalia — Alinda becomes
penitent, and requests to end her days in a nunnery
— the King resigns the crown to his son, and retires
to a monastery— the Queen and Horatio are patterns
of loyalty — she submits to the ill treatment which
she receives without a murmur, because it comes
from the King — ^he is always of the same opinion
widi the King— when the King changes, he changes
immediately this is on the whole a good Comedy,
or rather Tragi-Comedy— it has one great fault —
Eulalia, after her disgrace, is endowed with the
power of working miraculous cures— these cures,
with the other good things which she does, make
her very popular with the persons in the country
among whom she lives — the fault is the more inex-
cusable, as the plot might have been conducted with-
out any supernatural means.
15. Queen's Exchange— Osrick, King of Northum-
bria, sends Theodrickto Bertha, Queen of the West
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Saxons with an offer of marriage — Bertha likes OS-
rick's picture, and accepts his offer — she banishes
Segebert. for opposing her marriage — Segebert
has 3 children — Anthynus, Qflb, and Mildred
— Offa is most undeservedly his favourite — An-
thynus accompanies him in his banishment — ^ OlBa,
with some assassins, follows them towards Northum-
bria — Offa gives Segebert a dangerous wound, but is
prevented from killing him — Anthynus goes out to
look for assistance — a Hermit and his servant carry
off Segebert — Anthynus is much distressed at not
being able to find his father's body — in the mean
time Theodrick had returned to Northumbria — he
shews the King Bertha's picture — the King is
pleased with it — Theodrick afterwards shows him
the picture of Mildred with whom he had fallen in
love — the King is struck with the superiour beauty
of Mildred — he conceals his passion for her — ^he fells
into a sort of melancholy or madness — in one
of his freaks he disguises himself as a pilgrim — some
of his courtiers find Anthynus asleep in a thicket —
Anthynus being disguised as a pilgrim, and having a
strong personal resemblance to the King, the
courtiers mistake him for Osrick, and place him ia
the King's chamber — a Genius prompts Anthynus
not to undeceive them —Bertha arrives in Northnm*
bria — she marries Anthynus, supposing him to be
Osrick — Osrick had set off for the kingdom of the
West Saxons — on his arrival there, he is mistaken
for Anthynus — Bertha returns home witii her hus-
band—Osrick maiTies Mildred — Segebert recovers
from his wound — Offa goes mad — he had not only
attempted to kill his father, but likewise to ravish his
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sister — there are some comic dmracters — partieii-
luAy the Sang's Fool — this is on the whole a very
good 1^7, but the plot in some parts of it is impro-
bable— it was not printed till 1657 — in the titlepage
it is said to have been acted at Black Friers, but the
Bookseller in his address to the reader says» that he
does not know when it was written, or where it was
acted.
Brome assisted Heywood in writing the Lan-
cashire T^tches — he is said to have written 6 other
plays, which are not printed — 2 of them in con-
jonctionwith Heywood.
Thomas Randolph.
Randolph was educated at Westminster and
Cambridge— he became Fellow of Trinity College —
he was not only admired by the wits of the Univer-
sity, but likewise beloved and valued by the poets
and men of the town in his age — (LangbaineJ — he
wrote 5 (not 6j dramatic pieces.
1. Aristippus-^this Drama is in one act — the 1st
edition is said to have been printed in 1631 — there
is another edition in I668 — - it is said to have been
presented in a private shew — it is not calculated for
general representation, as it abounds with expressions
which must be unintelligible to a common audience-^
the scene lies in the University of Cambridge — the
piece contains a considerable d^ree of humour.
The Conceited Pedlar is printed at the end of Aris-
tippus, it has no connexion with the Drama, being
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48 OLD PLAYS.
merely an address from the Pedlar to bis castomers
in the University — he comments with a great
deal of humour on the things which he offers for
sale.
2. Jealous Lovers — see D. G. 1682.
S« Muses Looking Glass — see C. G. March 14
1748.
4. Hey for Honesty, Down with Knavery 1651 —
this C. is said in the titlepage to have been translated
from Aristophanes by Randolph, and to have been
augmented and published by F. J. — Randolph has
however rather attempted to adapt the Plutus of
Aristophanes to modern times, than give a regular
translation of it — ^the scene lies in London — the Just
man and the Sycophant are turned into Gogle of
Amsterdam and a Sequestrator — Poverty is attended
on by an Englishman, a Scotchman, an Irishman,
and a Welchman — the first of these is Orator
Higgin of the Beggars' Bush — at the conclusion
Carion marries Honesty— the dialogue is well written
and the absurd mixture of ancient and modern
manners does not excite the disgust which might
have been expected — F. J. must have made con-
siderable additions, as many circumstances are
mentioned which did not take place till after Ran-
dolph's death.
5. Amyntas, or the Impossible Dowry — see the
endofL. L F. 1703.
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OLD PLAYS. 49
Thomas May.
> May wrote 5 plays.
1. Heir — see Stolen Heiress L. I. F. Dec. 31
1702.
2. Old Couple — see vol. 7 of Dodaley 174*.
3. Cleopatra, Queen of iEgypt — this T. was
printed in 1639— it had been acted in 1626 — the
scene lies in ^gypt, but not entirely at Alexandria
—the play begins before the open rupture between
Octavius Caesar and Antony— the battle of Actium
takes place between the 2d and 3d acts — in the
8d act, Antony enters dressed as Timon (see Plu-
tarch) — in the 4th, Cleopatra wavers between
Caesar and Antony — in the 5th, Antony stabs him-
self—Csesar attempts to deceive Cleopatra, but is
deceived by her — Cleopatra enters in robes of state
—Antony's hearse is brought in — she applies the
asp — Caesar and his friends conclude the play —
this is on the whole a good T. — there are some
few comic speeches.
4. Jolia Agrippina, Empresse of Rome-- this T.
was acted in 1628, and printed in 1639 — the dia-
logue is well written, and the D. P. are justly deli-
neated— but the piece has nothing in it striking or
interesting — it is hardly possible to bring such cha-
racters as Nero and Agrippina on the stage with
good effect — the other principal parts are, Pallas,
Narcissus, Petronius, Otho, Seneca, Burrhus, and
VOL. X. E
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50 OLD PLAYS.
Popp«a — Claudius dies in the 3d act — Agrippina
is killed in the last scene — the conclusion is
very correct as a history, but very flat as a
drama -— for the history see Tacitus, Ann. 13-18-14.
5. Antigone T. 1631— <ee the Antigone of Sopho-
cles 1758-1759.
May was originally a courtier, but in the time of
the civil war, he sided with the Parliament, and was
made their historiographer (B. Z>.)— Lord Clarendon
says — ** He prostituted himself to the vile office of
** celebrating the infamous acts of those who were
** in rebellion against the King ; which he did so
<* meanly, that he seemed to all men to have lost his
<< wits, when he left his honesty ; and shortly after
** died miserable and neglected, and deserves to be
** forgotten'' •— Lord Clarendon is any thing rather
than an impartial historian — it is by no means
clear that May died neglected, as the Parliament
erected a monument to his memory in Westminster
Abbey — it is quite certain that he does not deserve
to be forgotten — May's History is a book in good
repute— and his plays do him great credit — Lord
Oarendon himself says — *< His parts of nature and
'< art were very good, as appears by his translation of
'< Lucan, and more by his Supplement to it/'
Shakerley Marmyon.
This author wrote 3 Comedies— he is said to have
written a 4th which is not printed.
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OLD PLAYS. 51
1. Holland's Leaguer was acted by Prince Charles'
servants at the private house in Salisbury Court, and
printed in 16S2 (X^n^an^^— the cast was — Fide-
lio = Edward May : Philautus = William Brown :
Trimalchio = Andrew Keyne : Capritio = Henry
Gradwell: Miscellanio = Thomas Bond : Ardelio =
ESlis Worth: Agurtes = Matthew Smith: Autolicus
=: James Sneller : Snarle = Richard Fowler : Jeffry
= Robert Huyt: Faustina = Richard Godwin: Mil-
lescentr: John Wright : Triph(Bna = Robert Stafford :
Margery = Richard Pouch : Quartilla = Arthur Sa-
vill : Bawd = Samuel Mannery :— this is a tolerably
good C. — several passages from Juvenal, Petronius
Arbiter, &c. are well introduced — the Lord Philau-
tus is self-conoeited to the last degree — he is encou-
raged in his folly by Ardelio, who is his steward and
parasite — Hiilantns is brou^t to his sober senses by
Faostina — she turns out to be his sister — the bulk of
the play consists of an underplot with comic charac-
ters—the 4th act passes chiefly before a brothel,
which is repeatedly called the Leaguer, and some-
times a castle or fort — Trimalchio and Capritio (two
Gulls) with the Tutor of the latter, and Ardelio, are
taken up by a pretended constable and watchmen,
as they are coming from the Leaguer—- ^In the Hol-
lander one of the characters says —
-'< Have you not constant
** She souldiers in your citadell ? none such
<* Had ShttancTs Leaguer ; Lambeth Marsh is
held
** A Nunry to your CoUedge/*
£ 2
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In the Knave in Grain a brothel is repeatedly
called a Leaguer.
2. Fine Companion — this is a moderate C. — Aa-
relio, an elder brother, is disinherited — in the Ist
scene he says of Carelesse, his younger brother —
" He has a foolish flashing wit,
<< But no solidity of mind or judgment ;
*' And now imagines he can salve it up
" By being stiPd A Fine Companion'*
There is not much plot — Littlegood wants his two
daughters to marry Dotario and Spruce — Carelesse,
dressed as Dotario, runs away with Emilia and mar-
ries her — Aurelio marries Valeria in the disguise of
a Doctor— the Fine Companion was printed in 1633,
and had been acted at Salisbury Court.
3. Antiquary— see vol. 7th of Dodsley 1744.
Henry Glapthorne.
Glapthome wrote 5 plays — ^he is said to have writ-
ten 4 other pieces which have not been printed.
1. Albertus Wallenstein— see Old Plays 18€d-
1824.
9. Argalus and Parthenia — see T. R. 1682.
3. Ladies' Privilege— see Old Plays 1823-1824.
4. Wit in a Constable— see L. I. F. 1665.
5. Hollander — this is a tolerable C— it was writ-
ten in 1635, but not printed till 1640 — it had been
acted at the Cockpit in D. L.— Freeman being sen-
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sible that Mrs. Know-worth was in love with him,
as he was with her, fears that she may change, and
employs Martha, disguised as a man, to belie him —
Mrs. Know- worth acts as Freeman wishes her, and
be begs her pardon for his distrust of her regard
Ardesse, a pretender to physic, keeps a sort of con*
venient house— Sconce, a naturalized Dutchman,
means to marry his daughter, but is in fact married
to Martha — Sir Martin Yellow is very jealous of his
wife, but at the catastrophe he is convinced of her
virtue.
William Cartwright.
Cartwright wrote 4 plays — Langbaine speaks high-
ly of him, as a scholar, a divine, and a poet — but his
plays are far from capital, their merit consists chiefly
in the dialogue*
1. Royal Slave — Arsaranes, King of Persia, had
conquered the Ephesians — it is said to be a custom
in Persia, to make one of the captives a king for S
days, and then to sacrifice him to the Sun— Cratan-
der is selected for that purpose--an oath is adminis-
tered to him that he will commit no treason against
the state — he conducts himself in such a manner that
the Queen is struck with admiration of his virtue —
she and the other Ladies shut themselves up in the
castle of Arsamnes, with Cratander — and reiiise to
surrender, till the King promises to give Cratander
his life, and the Ephesians a tolerable degree of
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liberty — ^the language and sentimentB of this T. C are
good — the plot is unnatural to the last degree, and
consequently bad — 4 of the Ephesian captives, and
a Persian jailor, are comic characters — ^this play was
presented to the King and Queen by die Students of
Christ Church in Oxford, Aug- 30 1636— Busby,
afterwards the famous master of Westminster school,
approved himself a second Roscius — see Laogbaine.
S. Lady Errant — the serious scenes in this T. C.
are romantic and unnatural— the King of Cyprus is
from home, and carrying on a war in Crete^n the
mean time the Prince of Crete is in Cyprus making
love to the Princess — in the comic scenes, the women
form a conspiracy against the men, with a view to
get the affairs of the state into their own hands— this
is borrowed from Aristophanes — it b^;ins well —
promises m uch, and ends very flatly.
3. Siege, or Love's Convert— this is on the whole
a tolerably good T. C— the author has prefixed to it,
in Greek and French, the passage in Plutarch's life
of Cimon, from which the main incident of his play
is borrowed — << Pausanias commanded a virgin of
*< Byzantium to submit to his embraces— she was
<< forced to comply, but requested that the light might
<< be put out — in the dark she happened to overtom
** the lamp — the noise awakened Pausanias, who
^^ supposing her to be an enemy, drew his di^er,
<< and killed her"— the rest of the piece seems to be
entirely fiction — Misander the Tyrant of Thrace,
had besieged Byzantium, and reduced the citizens to
such straits, that they are compelled to send him the
pictures of their three most beautiful vii^ins, one of
whom is to be made the victim of his lust — he selects
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OLD PLATS. 55
LeucaBia — her father advises her to preserve her
honour by killing the Tyrant-*but when it comes to the
point, she hesitates— the light being pat out, Misander
wakes, snatches a dagger, and stabs her — when he
finds what he has done, he calls for a surgeon, and
watches her recovery with the utmost solicitude—
she does recover, and then her father urges her to
poison Misander — in the mean time she has fallen in
love with him — she drinks the poison herself-*it
proves however only a sleeping potion, and the play
ends with the marriage of Misander and Leucasia —
Misander is completely Love's Convert, but his total
diange of conduct is highly unnatural^— 4here is a
comic underplot
4. Ordinary — this is by far the best of Cartwrighf s
plays, and as such was judiciously selected by Dods«
ley for reprinting — see Dodsley vol. 10 1744— the
last 3 of these plays were not published till 165 1-—
8 years after the author's death— the Royal Slave
was printed in 1639*
William Rowley.
Rowley was an actor as well as an author — he is
said to have written 6 plays, and to have assisted in
writing 9 more — 5 unpublished plays are attributed
to him by the Editors of the B. D.*— one of which—
the Parliament of Love — was probably the play
written by Massing^, and printed in his works in
1805.
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1. New Wonder, a Woman never Vext— see C. G.
Nov. 9 1824.
Q. Match at Midnight— see vol. 6th of Dodsley
1744.
3. All lost by Lust-- see Haymarket May 1705.
4« Witch of Edmonton — see Ford's plays 1811.
5. Birth of Merlin, or the Child has found his
Father— this play was not printed till 1662— in the
titlepage it is attributed to Shakspeare and Rowley^
but it is very improbable that they should join in
writing this, or any other play, as they belonged to
different theatres — the scene lies in Britain — the
Saxons defeat the Britons— a Hermit armed with
his cross and staff fronts the Saxons — such super-
natural brightness appears above his head, that
the Saxons are amazed, and in their turn de-
feated—Artesia, the sister of Ostorius the King of
the East Angles, comes to Aurelius the King of Bri-
tain to treat about peace — Aurelius falls in love with
her and marries her, in spite of the remonstrance of
the Hermit — Donobert has two daughters— Con-
stantia and Modestia — he wishes them to marry the
Earl of Cornwall and the son of the Earl of Gloster
— Constantia agrees to marry the Earl of Cornwall
— Modestia determines to lead a religious life— Con-
stantia attempts to dissuade Modestia from her re-
solution, but is herself converted by Modestia — they
both become nuns— a considerable portion of the
play is comic — Joan the sister of a Clown is with
child — she cannot tell who the father of the child is
— she only knows that he was dressed like a
courtier — ^they come to court to look for the &ther
of the child — the Devil proves to be the father — ^he
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tells Joan that her child shall be famous till dooms-
day— Merlin is not only bom with a beard and with
all the faculties of a man, but is also endowed by the
Fates with the gift of prophecy— the Devil orders
Merlin to go into Wales, where Vortiger is King— ^
Uter, the brother of A urelius, with the British nobles,
makes war on Vortiger --Vortiger is killed — Merlin
tells Uter, that Aurelius is poisoned by the Saxons
— a dragon's head appears in the heavens — Merlin
says this is an emblem ofUter — Uter is saluted as
King — he assumes the surname of Pendragon--the
Devil wishes to renew his amorous intercourse with
Joan — she refuses — the Devil orders a spirit to carry
her off— Merlin rescues his mother, and encloses the
Devil in a rock— Merlin prophesies to Uter that his
son, Arthur, shall become Monarch of the West,
and that the greatest honour a Knight can receive,
shall be to feast with him at his royal table at Win*
cheater — the serious scenes of this play are tolerable
— the comic scenes are good —Rowley himself pro*
bably acted the Clown, who is the best character.
6» Shoemaker's a Gentleman 1638 — ^this C. is very
scarce— it appears from Langbaine, that it had been
revived, in his time, at D. 6.
Thomas Nabbes.
Nabbes wrote 6 plays.
1. Microcosmus — see vol. 5th of Dodsley 1744.
2. Bride— see end of D. L. 1705-1706.
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3. Hannibal and Scipio was printed in 1637 --it
had been acted in 1685 by the Qaeen's servants at
D. li.— it is one of the few old plays which are
printed with the names of the performers— Mahar-
ball = W. Shm*lock: Himulco=J. Samner : Souldier
= G. Stutfield: Hannibal- W. Allen: Nantia8 =
H. Gierke : Bomilcar = R. Axen : Syphax = H«
Gierke: Piston =. A. Turner: Scipio = M. Bowyer:
Lelius= J. Page : Sophonisba = Ezekiel Fenn : Mas-
sanis8a=Theophilus Bird : Hanno = R. Perkins :
Gigson = R. Axen : Bo8tar=:6. Stutfield : Prusias
=:W. Shurlock— act 1st— the scene lies at Ci4>ua
— ^Hannibal's soldiers are dissolved in luxury — he
reproaches them for it — ^but falls in love himself
with a lady of Salapia— he receives an order from
the Senate of Gartbage to return home—act 2d —
the scene lies at the Gourt of Syphax— Scipio and
Hannibal meet there — after the departure of Scipio»
SojAonisba arrives — she gives her hand to Syphax
on condition that he will join the Garthagenians
against the Romans — act 3d— the scene lies at Utica
— Massanissa brings in Syphax as a prisoner — Scipio
reproaches Massanissa for having married Sopho-
nisba — she poisons herself — act 4th — the scene lies
at Garthage— a Messenger relates the interview be-
tween Hannibal and Scipio — and the result of the
battle of Zama — Hannibal treats the Senators
roughly— Scipio enters — Hannibal had previously
left Carthage— act 5th— the scene lies at the Gourt
of Prusias, King of Bithynia— Scipio, Massanissa^
&c enter — Hannibal, suspecting that Prusias meant
to betray him to the Romans, poijsons himself—
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OLD PUkYS. 59
Scipio determiDes to retire to a private life ^this 18
not a bad T.— nor has it much to recommend it—
for the history see lavy.
4. Tottenham Court— Worthgood and Bellamie
are mutually in love — she elopes with him from her
uncle's house in the night— they arrive in the fields
near Tottenham Court before day break— they are
pursued — and lose one another in the dark — they
do not meet again till the 4th act — then they are
married— her uncle is at first in a rage, but he quite
approves of the match, when he finds that Worth-
good has just had an estate left him — ^Frank and
George are described in the D. P. as Courtiers, that
is. Gallants — James and Sam belong to the Inns of
Court — it appears that at the time when this play
was written, it was customary to walk to Totten-
ham Court, and breakfast there— most of the char
racters meet in that manner — Bellamie, on losing
Worthgood, implores the protection of Ciceley, who
is going to milking — she is the supposed daughter of
the Keeper of Marrowbone Park— Ciceley and Bel-
lamie change clothes — Franke has done his utmost
to debauch Cicely — and had at last offered her mar-
rii^e — she falls in love with Sam — James wishes to
be intimate with Ciceley — a noise being made he
conceals himself in a trunk — Ciceley promises George
to be brought to his lodgings in a trunk — when the
trunk is opened, James is found there instead of
Ciceley — Mrs. Stitchwell's husband is a master
taylor — she seems inclined to cuckold him— first with
GeofrgBf and then with Changelove— on the approach
of Stitdiwell, George gets into a tub— a pail of water
is poured on him'— Mrs. Stitchwell and Changelove
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60 OLD PLAYS.
are in a room k^ether— Stitch well had gotten drunk,
and fiaJlen asleep — he wakes in time to prevent mis-
chief—at the conclusion, Sam marries Cicelejr— he
is the brother of Bellamie — Ciceley proves to be
only the foster daughter of the Keeper, and really
Worthgood's sister this is a good C. — it came out
at Salisbury Couit — ^the 1st edition is said to have
been printed in 1638— there is another edition in
1639— the Farce of the Merry Milkmaid of Isling-
lington is in a very great degree stolen from this
play, but the scenes appear to much more advantage
in their original shape — see D. L. May 2 1746.
5. Unfortunate Mother 1640— tho' this is a very
good play, yet Nabbes tells us in his dedication, that
it had been denied the credit, which it might have
gained from the stage — and one of the author's
friends says to him —
** Well writ ; well plotted : why not acted then ?
" Have th' actors judgment more than other men ?
*^ Or i'st their humour so to keep those under,
*< Whose bayes are known to be secure from
" thunder ?*'
— The Unfortunate Mother is Infelici — ^the late
Duke of Ferrarahad two children by her— Spurio
and Notho — during the life time of his first wife —
at her decease he married Infelici, and they had a
third son — Macario, the reigning Duke — Spurio and
Notho had been brought up as the sons of Corvino—
of all this Corvino gives some obscure hints — bat
at the end of the 4th act the reader is kept in a
pleasing suspense as to the plot— in the 5th act,
Spurio and Notho fight and kill one another — Infelici
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dies of grief— Conrino makes up a plausible tale to
the Dnke» but is convicted by Cardante, an old
Grone» who had been privy to Infelici's story, and to
whom Corvino had given a poison as a philter — Cor-
vino is punished as he deserved — the language is
good— the author in his address to the reader
says —
'* Here are no bombast raptures swelling high,
*< To pluck Jove and the rest down from the sky :
'' Here is no sense that must by thee be scann'd,
<< Before thou canst the meaning understand."
6. Covent Garden 1638 — this C. had been acted
in 1632 by the Queen's servants— it is a poor play
—there is no plot, and but little incident.
Abraham Cowley.
Cowley wrote 3 or 4 plays,
1. Lovers Riddle 1638— this is a moderate Pastoral
Comedy — ^the age of the author being taken into
consideration, it does him credit — it was written
when Cowley was a King's Scholar at Westminster,
but not printed till he had been 2 years at Cam-
bridge— the scene lies in Sicily — Callidora, the
daughter of noble parents, is disguised as a man — two
shepherdesses, Bellula and Hylace, fall in love with
her — Palsemon, a young swain, is in love with Hy-
lace, but slighted by her— Florellus, the brother of
Callidora, falls in love with Bellula — she is supposed
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to be the daughter of an ancient countryman, but is
in reality the sister of Aphron, Mrho is a gentleman
-«Aphron is mad» bnt recovers his senses in the 4th
act — Alupis, the merry shepherd, is a very good
character— the piece concludes with 4 marriages —
Callidora asks Alupis when she shall see him mar-
ried—he replies —
^' Me ? when there are no ropes to hang myself,
<* No rocks to break my neck down."
In the £th act he 8ay& —
*' May the earth lie gentle on him — that the dogs
" May tear him up the easier*' —
this IS tiie translation of a Greek Epigram whidb
Cowley had learnt at Westminster.
2. and S. For Guardian and Cutler of Colman
Street— see L. L F. 1 661— Col. Jolly is father to
Aurelia, and guardian to Lucia-— his estate having
been confiscated for his attachment to the royal cause,
he wishes to dispose of Lucia for his own advantage
— he offers her to Cutter and Worm on certain con-
ditionsr— she rejects them, and is in love with Tru-
man Junior — Truman Senior had exacted an oath
from his son, tiiat he would never more see Lucia,
nor hear her speak — she visits him in a long veil,
and writes what she has to say — at the condusion
they are married — ^Aurelia is the main engine of the
plot—she contrives to get herself married to Puny —
he supposes her to be Lucia — ^Cutter and Worm are
two sharking fellows who pretend to have been a
Colonel and a Captain in the King's army— Jolly
marries Mrs. Barebottle, to recover his estate, of
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OLD PLAV0. * 63
which she is in possession— she is a pretended saint
—her daughter Tabitha is of the Fifth Monarchy
fiuth— Catter affects to be converted by inspiration
and to have visions— 4his induces Tabitha to marry
him.
The Guardian, though acted in 1641^ was not
published till 1650— Cowley probably made improve-
ments in it before he sent it to the press— in the
preface to Cutter, Cowley says — *^ The Guardian
<' was privately acted several times during the troubles,
^< as I am told, with good approbation, as it has
*' lately been too at Dublin— there being many things
*< in it which I disliked, I fell upon the changing of
'* it almost wholly, as it now is, and as it was jdayed
<< since at his Royal Highness' Theatre under this
^ new name" — Gutter is a much better play than
Ae Guardian — but the changes made are not so
great as Cowley represents them to be — ^great part
of the dialogue is written afresh, but nothing like
the ndiole of it— nearly the whole of the D. P. are
the same as before — Worm is substituted for Dogrel,
who is a sharking poetaster — but Worm says and
does a great deal the same as Dc^rel — Jane and
pBTBon Soaker are not characters in the original
play — but Lucia, in disguise, hires herself as a ser-
vant to Aurdia — she calls herself Jane — a consi-
derable part of the serious scenes in the Guardian
are omitted — which is a great improvement— in the
last scene of the 4th' act. Cutter says to Dogrel —
** Thou'dst act well I see : well ha' thee to Golden
'* Lane" — ^that is to the Fortune Theatre.
4b Naufragium Joculare — a Latin Comedy acted
in the Hall of Trinity Collie Cambridge, on the
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64 OLD PLAYS.
2d of February 1638 — Dr. Johnson says — ." It is
*< written withoat due attention to the ancient models,
*^ for it is not loose verse, but mere prose — it has
'< neither the facility of a popular, nor the accuracy
" of a learned work" — Cowley, who well Icnew the
great approbation with which Ignoramus had been
received, could have no scruple about writing in
prose— -his play is quite as learned as could be ex-
pected from an author, who was at the time Scholar
of Trinity, and a Junior Soph, or in other words,
who had been at the University about a year and
half — Cowley seems to have acted himself — the
speaker of the Prologue says of him, that he dares not
appear ^* nisi persanattis** — he adds — still speaking
of Cowley— "/?/m* stid rubescitpurpurd^^^the under-
graduates of Trinity wear purple gowns— the merit
of Cowley's piece consists rather in the dialogue than
in the plot — the scene lies at Dunkirk — a Tutor is
sent to travel with two foolish young men, one of
whom sets up for a wit — on their landing at Dunkirk,
they get so drunk as to suppose that they are on
board of a ship in a storm— this gives the name to
the play, for there is no real shipwreck — iEmylio,
the servant of a soldier called Bombardomachides,
and Dinon, who is servant to the young men, join in
a plot on the Tutor and his pupils — ^when they are
drunk, iBmylio thrusts them into a cellar, and makes
them believe that they have been taken prisoners by
Bombardomachides— this circumstance is so absurd,
that it takes off from the merit of the play in other
respects — at the conclusion, ^mylio proves to be
the son of an English Merchant— he marries Euco-
missa, the daughter of Bombardomachides— in two of
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OLD PLAYS. 65
the scenes a school is opened for the sale of puns— ^
in the 5th scene of the 2d act, Cowley ventures on a
bit of fun which one would hardly have expected
before such an audience — Psecas describes to Euco-
missa some spectres or daemons — one of them (she
says) was like a man — ** Et erat nudum totum car-
pus—
Eu. '* Totum ? O Venus ! multum, mecastor,
Gupio videre istos Cacodaemones.
Pse. << Imo si magis noveris, Eucomissa, magis
caperes : nam habuit — ha, ha, hse, nequeo cogitans
qoin rideam.
Eu. << Quid habuit Psecas ?
I^se. «* Non intelligis ? habuit —
Eu. " Quid ? eloquere.
JPse. << Tam magnam rem — Nos omnes admirari
illico."
Neither the dedication, nor the Prologue, tells us
what circumstance occasioned the jplay— it was not
customary to have a play at Cambridge, except in
the case of a royal visit*
Fortune in her Wits 1705 — this is a free transla-
tion of Naufragium Joculare — it seems not to have
been acted— the translator has changed some of the
Latin names — he should have changed all or none —
be observes, that iEmylio is an excellent character
and that the fable is very good and artfully wrought
—of the two scenes at the school for puns, Cowley
himself says, that they could only be understood by
certain people —that is, that they were merely cal-
culated for the University — to adapt them to a com-
mon theatre was impossible — the translator, by
VOL. X. F
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66 OLD PLATS.
omitting thegreaterpartof them, has reduced his 4th
act to almost a skeleton — on the whole the translation
is not a bad one — in the B. D. it is attributed to
Charles Johnson.
Suckling.
Sir John Suckling's Poems and Plays were re-
printed in one vol. small 8vo« 1696.
1. Aglaura — the 1st Edition of this play is said to
have been printed in 1638 — it had been acted at
Black Fryars — ^the scene lies in Persia — the king and
prince are both in love with Aglaura, the sister of
Zorannez — Orbella had been betrothed to Zorannez,
but had deserted him and married the king— she is in
love with Ariaspes the king's brother — Ariaspes in*
stigates her to poison the king — Zorannez, whose
father had been killed by the king, meditates revenge
— he disguises himself for 3 years as Zariff, and gains
the king's confidence — he is really a friend to the
prince — the prince and Aglaura are privately married
— on the wedding night she is forced to leave him—
at their next meeting he is forced to leave her, and
retire by a subterraneous passage — Ariaspes and
lolas kill the king, supposing him to be the prince—
Zorannez kills them — Aglaura kills the prince, sup-
posing him to be the king— when she finds her mis-
take, she dies— the queen kills Zorannez — Pasithas
kills the queen.
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Sackling wrote another 5th act — ^in the Prologue to
the 0>urt he says
*' 'Tis strange perchance (you'll think) that she
that dy'd
<< At Christmas, should at Easter be a bride/*
All the characters are kept alive — Aglaura wounds
the prince, but does not kill him — the king repents,
resigns Aglaura to his son, and promises to do penance
for 3 years at the tomb of Zorannez' father— he
banishes Ariaspes, and sends the queen to Diana's
nunnery this play on the whole is not a bad one
— the language is sometimes good, and more fre-
quently unnatural — the short comic part of Orsa-
mes is better written than any other part in the
piece.
2. Goblins— see 7th vol. of Dodsley 1744.
3. Brennoralt, or the Discontented Colonel — see
T-R- March 5 1 668 — Brennoralt, ; the Discon-
tented Colonel, is loyal — Almerin is a valiant rebel
—they are both in love with Francelia, the daughter
of one of the chief rebels — Iphigene, a young Pala-
tine, is in reality a woman, but had been brought up
as a man — she is in love with Almerin — Almerin is
taken prisoner, but makes his escape — Iphigene is
taken by the rebels — Francelia falls in love with
Iphigene — Iphigene encourages her passion, in order
to prevent her from marrying Almerin —Almerin, in
a fit of jealousy, wounds Iphigene and Francelia —
Francelia dies — Brennoralt takes the castle where
she is, finds her dead, and kills Iphigene — Almerin
and Brennoralt fight — the former is killed — the
Editor of the B. D* supposes, with much probability,
F 2
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68 OLD PLATS.
that this play was written about 16399 and that what
the author observes of the Lithuanians, was meant
by him to be applied to the Scotch — a Lord says —
<' Tou Lithuanians had of all least reason :
''For would the King be unjust to you, be
cannot ;
''Where there's so little to be had/'
Almerin replies —
" Where there is least, there's liberty."
4f. Sad One — this T. was left unfinished — it is
merely the skeleton of a play — it is however divided
into 5 acts — the author, has prefixed to it an argu-
ment, but even with the help of that, it is not easy
to discover what Suckling's design was — the Sad
One seems to be Francelia, who cuckolds her hus-
band, and then repents — this T. has some few good
lines in it, but on the whole there is no great reason
to regret that it was not finished. Suckling expended
three or four hundred pounds on one of his plays
(probably the Goblins)— he gave the players 8 or 10
suits of new clothes, which at that time was consi-
dered as an unheard of prodigality. (Malane.)
Sir William Lower.
Lower is said to have written 8 plays — 2 of which
are not printed.
L Horatiusy a Roman Tragedy, 1656 — this is an
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OLD PLAYS. 69
iDdegant, but probably a fiuthful translation of Cor*
neille's piece.
2. Pbc&nix in her Flames 1639 — in the Ist act,
Damascas is taken by the Tartars — Amandas, the
Prince of Daniascus, sets off on his travels with
three of his fidends — Lucinda, the Princess of iBgypt,
is betrothed to Peraeas, the Prince of Persia — on
her road to Persia, she and her escort are taken pri-
soners by a band of robbers who inhabit the moun-
tains of Arabia — Rapinas, the captain of the robbers,
fells in love with Lucinda — Amandus and his friends
are taken prisoners by the robbers — Lucinda, by her
influence with Rapinus, prevents them from being
used with severity — she makes love to Amandus,
who receives her overtures with coolness — Rapinus
attempts to ravish Lucinda — Amandus kills him —
Perseas, on hearing what had happened to his in*
tended bride, invades Arabia, with a powerful army
— the robbers make Amandus their captain — he
prevails on them to offer their assistance to the
King of Arabia — the King appoints Amandus and
Alecto to command his troops — Perseus defeats
Alecto — Amandus defeats Perseus, and takes him
prisoner — Perseus and Amandus fall in love with
Phcenicia, the King's daughter — she falls in love with
Amandus — Alecto is the King's nephew — he se-
cretly aspires to the crown, and the hand of the
princess— he persuades Perseus to challenge Aman-
dus — they fight — Amandus kills Perseus, but is
killed by Alecto, and his associates — the friends of
Amandus kill Alecto — Phcenicia prevails on a
Physician to suffocate her with the fume of spices,
as if she were the Phoenix — hence the name of
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70 OLD PJLATS.
the play — the King dies — Locinda returns to Mgypt
— this is a good T. — the plot is romantic, hat in-
teresting.
3. Polyeuctes, or the Martyr 1655— Sir William
Lower, in his argument, tells us, that Polyeuctes
and Nearchus are recorded in Ecclesiastical History
as two Gentlemen of Armenia, who suffered mar-
tyrdom under the persecution of Decius, &c., &c. —
he then enumerates the additions he had made to
the real story — these additions do him credit, hut
still the story is too simple for 5 acts, and it admits
of no variety — a great part of the dialogue is very
well written, and this T. on the whole may fairly
be considered as a good one — ^it was evidently meant
to do honour to the Christian religion — yet there
are some passages in it to which a sober Protestant
would strongly object
4. Enchanted Lovers — Pastoral 1658.
5. Noble Ingratitude— Pastoral T, C. 1659-
6. Amorous Fantasme — T. C* 1660.
Jasper Mayne, D. D.
Gilchrist in a note on the 384th ps^ of the 9tb
vol. of Gifford's Jonson says — << Jasper Mayne,
<< whose entertaining cotnedies have endeared his
<< name to dramatic readers, &c/'-*— Mayne wrote
but Q plays, one of which is not a comedy.
1. City Match— see D, L. April 15 1755.
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OLD PLAYS. 71
2. Amoroas War 1648 — the plot of this Trs^-
Comedy is so very improbable, that the merit of the
play in other respects, which is considerable, barely
OTerbalances such a radical fault — Archidamus,
King of Bithynia, had run off with Rozane, the sister
of Eurymedon, King of Thrace, but with her own
consent — £ur]rmedon makes war on the Bithynians
— Roxane contrives to hare herself and some other
Ladies taken prisoners by her brother — they return
to the Bithynians disguised as Amazons, and proffer
their assistance in the war — they hint likewise that
they have no objection to an engagement of a dif-
ferent nature — the King remains constant to Roxane
— but two young noblemen have an affetir of gal-
lantry with their own wives, not knowing them to
be such — the Amazons throw off their disguises, and
the play ends happily.
Robert Davenport.
Langbaine says that this author wrote two plays
in the reign of Charles the 1st— the £ditor of the
B. D. attributes to Davenport a New trick to cheat
the Devil, and adds that he wrote 6 or 7 plajrs which
are not printed.
1. New way to cheat the Devil — this play is said
in the titlepage to be written by R. D. Gent. — ^it was
printed in 1639 —it appears, from the address to the
reader, to have been often acted with approbation,
and that the author was dead — ^it is a very good C—
Changeable has promised his daughter, Anne, to
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7^ OLD PLAYS*
Slightall— his wife endeavours to break the match —
Slightall, being in debt, and thinking himself to be
jilted by bis mistress, falls into despair, and sells him-
self to the Devil — when the bond is exacted, Fryar
Bernard finds a flaw in it— the Devil turns out to be
Changeable in disguise, and the play concludes with
the marriage of Slightall and Anno — Langbaine ob-
serves that the scene, in which Fryar John pretends
to conjure for a supper, has been made use of in
the London Cuckolds — we may now add, and in the
Match for a Widow — ^the scene is a very good one*
2. King John and Matilda was written before the
civil wars, but not printed till 1655— there is an ad-
dress to the reader signed R. D., but the play was
printed for Andrew Fennycuicke — this T. has very
little resemblance to Shakspeare's play, except that
Davenport has a scene of considerable length, in
which the King resigns his crown to the Pope's Le-
gate— there is a good deal of fighting between the
King and the Barons, but the play consists chiefly of
the artifices which the King makes use of to get Ma-
tilda into his power, and to debauch her — she is
chaste and resists all his solicitations — at last she
takes refuge in Dunmow Abbey— the King, not being
able to entice her from thence, employs Brand to
destroy her with a poisoned glove — after her death,
the King is very sorry for what he has done — ^Matilda
is the daughter of Fitz water, the leader of the dis-
affected .Barons— Davenport's play is on the whole
a good one— it is borroVeed in a considerable degree
from the Death of the Earl of Huntington-^see Old
Plays 1828 — King John and Matilda came out at
the Cockpit in D. L.— it was printed with the names »
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OLD PLATS. 73
of the performers —King John = Bowyer : Fitzwater
=: Perkins, whose action gave grace to the play:
Young Brace = Sumner : Brand = Shirelock, who
performed excellently well : Old Bruce = Turner :
Chester =: Jackson : Oxford = Goat : Leister =
Tonng : Hubert = Clarke : Pandolph = Allen : — ^to
Matilda, Queen Isabel, Lady Bruce, and^ Lady
Abbeese there are no names — it appears from the
dedication that Andrew Pennycuicke had act^d Ma-
tilda, but he does not seem to have acted the part
(Higinally — Brand is a hardened villain with a spice
of Comedy about him — such a part as would have
suited Emery or John Bannister.
3. City Night Cap- see the 9th vol. of Dodsley
1744.
Cavendish Duke of Newcastle.
His Grace is generally supposed to have written 4
plays.
1. Country Captain — Underwit is made a Captain
of the trainbands— at which he is much elated— he
has an inclination for Dorothy,LadyHuntlove's cham-
bermaid, but without an intention of marriage— she,
by a stratagem, makes him believe that she is the
daughter of a knight, and he marries her — Sir Francis
Courtwell wishes to be intimate with Lady Huntlove
—she is as willing]as himself—in theSd act, SirRichard
Huntlove and his Lady are discovered in bed— he
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74 OLD PLAYS.
is called up to go a hunting — but three of his horses
being stolen, he returns — Lady Huntlove, who is still
in bed, takes him for Sir Francis, and addresses him
accordingly — she discovers her mistake, and pre*
tends to have been talking in her sleep-^at night she
goes to Sir Francis' chamber according to promise —
she is so offended at iSnding him asleep, that she does
not wake him — he begs her pardon — and says that he
will pretend to have a fall from his horse, as an ex-
cuse for not accompanying Sir Richard to London —
he really gets a fall — dislocates his shoulder — and is
cured of his amorous fit — Courtwell, Sir Francis'
nephew, marries Lady Huntlove's sister— Device,
who was a Pretender to her, is forced to write the
Epithalamium — this is on the whole a good C.
2. Variety— see T. R. 1682.
3. Humorous Lovers — Col. Boldman is a despiser
of love — Lady Pleasant falls in love with him at first
sight— he begins to like her— she laughs at him — ^he
pretends to be mad — at the conclusion they agree to
marry— Sir Anthony Altalk marries Dameris — he
had been told that she is the sole child of a rich old
gentleman~he concludes that she is an heiress —
whereas in fact she is illegitimate — her father gives
her £2000— see L. L F. March SO I667.
4. Triumphant Widow — see D. G. 1676.
The Duke likewise assisted Dryden in writing Sir
Martin Marrall.
Dr. Johnson observes — '^ It is unpleasing to think
** how many names, once celebrated, are since £»*-
** gotten — of Newcastle's works nothing is now
<< known, but his treatise on horsemanship" — the
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OLD PLAYS. 7^
Duke's Comedies ought not to have been foi^tten
—his Grace is said to have died in I676 at the age
of 84.
John Tatham.
This author wrote 4 plays.
1. Love crowns the End — Langbaine says '^ this
^< T. C. was printed, with the author's poems, in
*^ 1657 — It had been acted by the scholars of Bing-
'* ham in Nottinghamshire — it is shorter than plays
"usually aie" — the Editors of the B. D. call it a
Pastoral, and say that it was printed in 1640.
2. Distracted State— this T. was written in 1641,
but not printed till 1651 -* the plot answers well to
the title — Mazares deposes his brother Evander, and
usurps the crown of Sicily — as he proves a tyrant,
the people take up arms against him, and proclaim
Archias, king— Evander being supposed to be dead —
die guards of Mazares are surprised, and he falls on
his own sword — Archias marries Harmonia, the
daughter of Oleander — notwithstanding this circum-
Btance, Oleander prevails on Adulanter to murder
Archias in his bed — Adulanter kills Harmonia by
mistake in the dark — Oleander causes Archias to be
poisoned by an Apothecary — he gets possession of
the kingdom^ but is afterwards deposed and hanged
— two other persons contend for the crown — the
play ends with the restoration of Evander — this is
a poor T. — the language is not much better than the
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76 OLD PLAYS.
plot--an Archbishop is one of the D. P.--and in the
Ist scene, Mazares pretends great r^ard for the
Church — yet the author is so absurd as to make
Archias begin the 4th act with sajring—
'< Well have the temples of the Gods repaired,
*^ And their neglected altars smoke with sacri-
fices.*'
The Archbishop replies — ** s, glorious piece of
" pietjr^ — He soon after adds — " The Grods will
** dwell amongst us" — Archias, immediately after
the death of Harmonia, says that her breasts are as
cold as snow-balls—Langbaine observes that Tatham,
out of hatred to the Scots, has made the Apothecary
a Scotchman *- Cleander says that he is glad to see
the spirit of a Scot does not start at murdering a
king — the Scotchman replies, that his countrymen
have poisoned three better kingdoms than Sicily.
S« Scotch Figgaries, or a Knot of Knaves — this
C. was printed in 1652, but probably written about
the same time as the Distracted State— great part of
it is in the Scotch dialect — it is a political attack on
the Scotch Army and the Covenant — the dialogue
displays more malice than wit — as a Drama it is
contemptible.
4. Rump, or the Mirrour of the late Times — this
C. was written immediately after the Restoration,
and with a view to hold up the persons, who had
opposed monarchy, to ridicule and detestation — all
the D. P. are real persons, but Tatham has changed
some of the names by placing the first part of them
behind the last — thus Lambert is called Bertlam —
Fleetwood, Woodfleet — Warestone, Stoneware —
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OLD PLATS. 77
and Whitlock, Lockwit — Tatham is particularly
severe on Lady Lambert — this is an indifferent play
—it was printed in 1 660— and had been acted at the
old Theatre in Dorset or Salisbury Court — Mrs*
Behn in the Roundheads has borrowed considerably
from Tatham— see D. G. 1682.
Sir William Davenant.
Davenant wrote 16 plays, besides those which he
only altered.
1. Albovine, King of the Lombards — in the 2d
act, Albovine marries Rhodolinda — Paradine at the
same time marries Yaldaura — at a banquet given on
the occasion, Albovine gets drunk, and sends for his
bowl of victory — this bowl is made of the skull of
Bhodolinda^s father — Rhodolinda is of course shocked
to the last degree — she positively refuses to admit
the king to her chamber — and contrives to pass the
second night with Paradine— he believes her to be
Yaldaura— she discovers hei*self, and instigates Para-
dine to kill the king — she threatens, if he should
refuse, to accuse him of having ravished her, and
promises to marry him, if he will do what she desires
— Herm^ild is an artful statesman, who had been
in the service of Rhodolinda's father, and who is
now in her confidence — he wishes to have the king
kiDed, but fears that in that case, Rhodolinda should
marry Paradine— for this reason, he makes Yaldaura
believe, that Paradine had knowingly committed
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78 OLD PLAYS.
adultery with Rhodolinda, and persuades her to poi-
son him — Valdaura pretends that she has poisoned
Paradine, and that she has been false to his bed —
Paradine kills her — Yaldaura's conduct is unnatural
— but the author seems to have been determined to
have her killed at all hazards— Rhodolinda, with the
assistance of Hermegild, again instigates Paradine to
the murder of her husband — Paradine from a cap-
tive had become the favourite of Albovine — this
makes him relent, and tell the king what had passed
between himself and Rhodolinda — Albovine is so
distressed at finding Rhodolinda had been false,
that he insists Paradine should fight with him, and
is purposely killed— he enjoins Paradine to revenge
him — Paradine kills Ehodolinda and Hermegild —
ihere are some comic scenes — Grimold, a rough old
soldier, is a good character — the scene lies at Verona
—this is a moderate T. in prose — it was printed in
1629.
2. Just Italian — T. C. printed in 1630 — it had
been acted at Black-friars — Altamont, the Just Ita«
lian, is married to Alteza, the Duke of Florence's
niece— she presumes on the superiority of her birth
and fortune, and treats her husband with contempt
— Altamont, in order to humble her, makes his sister
Scoperta, pass for his concubine — Alteza engages
Sciolto for her paramour — Sciolto falls in love with
Scoperta, and slights Alteza— she becomes penitent,
and implores her husband's pardon for her guilt,
which was only intentional — MervoUe, Altamont's
friend, tells Alteza, that her husband and Sciolto
have fought — that Altamont was killed, and that she
must Bit in judgment on Sciolto and Scoperta — she
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OLD FLATS. 79
detenniDes that Sciolto must suffer the sentence of
the law, and that Scoperta is innooent — she then
condemns herself, as her pride had been the original
cause of all the evils which had happened— Altamont
throws off the disguise which he had assumed, and
the piece ends happily — this is on the whole a good
play-
3. Cruel Brother — this T. is written in prose — it
was printed in 1630, and bad been acted at Black-
friars — this is Davenant's worst play — neither the
tragic, nor the comic scenes have much to recom-
mend them — the plot perfectly corresponds with the
title, as Foreste, in other respects a virtuous cha-
racter, murders his sister, because she has been ra-
vished by the Duke of Sienna — he is going to kill
the Duke also, but the injured husband says that
must not be, as heaven had anointed him for theii*
sovereign — in this, and several other plays, we are
told that a sovereign must not be punished, notwith-
standing whatever he may choose to do — this was a
sort of dramatic justice much admired at Court — -
unfortunately Cromwell and his party had no taste
for the theati*e, and acted on different principles in
1648.9-
4. Platonick Lovers — the Platonick Lovers are
Duke Theander and Eurithea, the sister of Duke
Phylomont — Phylomont and Theander's sister are
in love, but in the common way — - Theander and
Eurithea are married, but at night they retire to
separate apartments— Fredeline, a dependent on
Theander, is secretly in love with Eurithea — he
brings Theander to Eurithea's chamber door, where
he over-hears a conversation from which he has
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so OLD PLAYS.
reason to suppose that his wife has been false to him
— Fredeline's villany is discovered, and the play
ends happily — besides the Platonick Lovers there is
a third unnatural character — a young man who has
been brought up in a camp, and by his father's ex-
press desire, not taught to read and write, or per-
mitted to see a woman — the plot is assisted by the
honest artifices of Buonateste, who is a physician
and philosopher • — in the ^ act he says, ** I beseech
** you not to wrong my good old fiiend Plato, with
** this court calumny — they father on him a fantas-
** tick love he never knew'' — this is on the whole a
good play — it has been improperly called a T. C,
but it is nothing more than a serious Comedy — it
was printed in 1636, and had been acted at Black-
friars.
5. Wits — see vol. 4 p. 127.
6. Unfortunate Lovers — see L. I. F. 1668 — the
Unfortunate Lovers are Altophil and Arthiope — in
the absence of Altophil, Arthiope had been falsely
accused of incontinence and condemned to do public
penance — Altophil meets her in that state, and con-
ducts her to his house, intending to marry her im-
mediately— Ascoli, Prince of Verona, banishes Gale-
otto for having suborned false witnesses against Ar-
thiope, but falls in love with her himself— Galeott^
out of revenge betrays the City to Heildebrand King
of the Lombards — Heildebrand ravishes Arthiope —
Altophil kills Heildebrand and Galeotto, but is mor-
tally wounded by the former — Arthiope dies of a bro-
ken heart— Amaranta, the daughter of Galeotto, is
virtuously in love with Altophil — she kills herself—
Ascoli recovers his principality.
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OLD PLAYS. 81
7. Love and Honour — see L. I. F. 1662 — some
years before this play begins, tbe Duke of Savo/s
brother had been taken prisoner by the Duke of
Milan, and was supposed to be killed by him — the
Duke of Savoy had made a vow to be revenged— on
hearing that Prospero had taken Evandra prisoner,
he endeavours to get her into his power, but Pros-
pero conceals her— Melora, Leonel's sister, presents
herself to the Duke as Evandra — Evandra does the
same — the Duke condemns them both to death —
one of the Ambassadours turns out to be his brother,
and the play ends happily — Alvaro, Leonel and
Prospero are all in love with Evandra— at the catas-
trophe, Alvaro marries Melora, and Leonel, Evan-
dra — this T. C. is romantic, and very remote from
any thing that happens in common life, yet it cannot
be called a bad play — in the comic part there is an
excellent character of a very old widow — see Half-
pay Officers L. L F. Jan. 11 I72O — Love and
Honour is said to have been printed in 1649.
8 and 9* Siege of Rhodes in 2 parts— see L. L F.
July 2 1661 — Alphonso, a Sicilian Duke, is fighting
bravely in defence of Rhodes — his wife, lanthe, in
sailing from Sicily to join him, is taken prisoner by
tbe Turks, but generously released by Solyman —
tbe Rhodians are reduced to great distress, and have
DO hopes but in lanthe — she goes to the Turkish
Camp to solicit Solyman's mercy in person — Soly-
man consigns her to the care of his wife Roxalana —
the Rhodians make a desperate sally — Alphonso is
taken prisoner — Roxalana requests the Sultan that
he may be at her disposal — she restores him to lan-
the — Solyman, concludes the £d part with saying
VOL. J. G
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82 OLD PLAYS.
that as lanthe had trusted to his honour, and put
herself in his power without a passport, she should
make her own conditions for the Rhodians.
10. Man's the Master— -see C. G. Nov. 3 177^*
11. Fair Favourite — the king of Naples had been
in love with Eumena, but on the supposition of her
death, he had been prevailed on to marry the queen
from political motives — > on the wedding day, £a-
mena was presented to him alive, and he refused to
consummate his marriage — Eumena receives the
king's addresses, but refuses to grant him any im-
proper favour — her brother, Oramont, is very sus-
picious that her influence at court has been obtained
with the expense of her honour — ^his friend, Amadore>
takes £umena's part, and fights with Oramont — -
Amadore is supposed to be killed — the king gets the
better of his passion for Eumena, and is reconciled
to the queen — ^Amadore marries Eumena — this is on
the whole a goodT. C. — it was not printed till I673,
but it was doubtless written, and probably acted
before the civil wars.
12. Law against Lovers— see L. I. F. 1662.
IS. News from Plymouth — this is far from a bad
C, but there is little or no plot — of this defect Da-
venant was sensible— he says in the Prologue —
" We could not raise
" From a few seamen, wind-bound in a port,
** More various changes, business, or more sport."
Lady Liovewright comes to Plymouth in the ex-
pectation of meeting with Warwell, who is in love
with her — she treats him with scorn, but marries
him at last — the other principal characters are —
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OLD PLAYS. 8S
three Sea Captains— a foolish old Knight — and Sir
Furious Inland who is desirous of fighting on all oc-
casions — he speaks the Epilogue — it is clear that
Davenant had originally laid the scene at Ports-
month, as the Widow Carrack, towards the close of
the first act says, that her house is the best in Ports-
mouth — from certain expressions in the Prologue
and Epilogue, it was highly probable that this play
came out at the Globe— but the matter is put past a
doubt by Dayenanfs poems, in which the Epilogue
is printed a second time, as the Epilogue to a Vaca-
tion play at the Globe — the name of the play is not
mentioned.
14. Playhouse to be let — see L. I. F. 1665.
15. Distresses — scene Cordua — this is on the
whole a good play — Androlio makes love to Amiana,
but on her proposing marriage, he begs to be excused
-- she leaves her father's house and is involved in
some distress — Claramante elopes from her brother's
in men's clothes, and is involved in still greater dis-
tress— she is in love with Orgemon — Oi^emon and
Dorando are in love with her — at the catastrophe
they torn out to be brothers — Androlio marries
Amiana, and Orgemon, Claramante — there is a good
deal of fighting in this play — Langbaine and the
Editor of the B. D. call it a T. C— but without suf-
ficient reason — it is not so called in Davenant's
works, nor does the dialogue ever rise above serious
Comedy — a play, simply, is the best title for such
pieces.
16. Siege — Pisa is besieged by the Florentines—
FloreUo, one of the principal officers in the Floren-
tine army, is in love with BertoIJna, the daughter of
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the Governour of Pisa — ^for her sake he endeavours to
negotiate a peace, but being unsuccessful, he deserts
to the enemy — Bertolina is offended at him for
having been guilty of so dishonourable an action-
she contrives his escape from Pisa — ^he wishes to be
killed in the next attack, and fights with such fury
that Pisa is taken — Bertolina is reconciled to Ho-
rello, and the Florentine general undertakes to pro-
cure the Governour's pardon there is a comic
underplot — the character of Piracco is evidently bor-
rowed from that of the Humorous Lieutenant— this
is on the whole a good T« C. — the Siege and the
Distresses were not printed till I673, but had proba-
bly been acted before the civil wars — they have how-
ever no Prologue nor Epilogue*
Salmacida Spolia is not printed in Davenant's
works, as it ought to have been — it was presented
before the King and Queen on the 21st of January
1639— it was a mere vehicle for Singing and Scenery
— Davenant explains the title thus — ** There are two
** ancient Adages — Salmacida Spolia sine sanguine
" sine sudorey potius quam Cadmia victoria^ ubi ipsos
" victores pemicies opprimit ^the first of these
*^ Adages took its origin from a Grecian colony which
** was settled at Halicamassus — near which place
*< there was a famous fountain of most clear water and
** exquisite taste, called Salmacis — the native barba-
<< rians resorted to this fountain, and were gradually
^< reduced to the customs of the Greeks — the other
<< Adage was derived from the siege of Thebes by the
** Argives —the allusion is, that his Majesty out of
** his clemency approving the first Proverb^ seeks by
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OLD PLAYf. 85
<<aU means to redace tempestaous and turbulent
** natures into a sweet calm of civil concord/*
At the end of the masque it is said —
** The invention, ornament, scenes and appari-
*' tions, with their descriptions, were made by Inigo
*' Jones, surveyor general of his Majest/s works.
^* What was spoken or sung, by William Dave-
*^ nant, her IVlajesty^s servant."
Then follows a list of the Masquers, who were the
King, Queen, &c. — Jeffery Hudson acted a little
Swiss.
Plays by Various Authors.
In 1533 was published << a merry play between the
*• Pardoner and Ihe Frere, the Curate and Neybour
" Pratte"— this was written by John Hey wood— the
Friar, after a long preamble, addresses himself to
preach, when the Pardoner enters and makes a long
speech in praise of his bulls and his relicks — both
speaking at the same time with continual interrup-
tion, at last they fall together by the ears — here the
Curate enters, (for the scene lies in the Church) and
having in vain attempted to pacify them, he calls his
neighbour Prat the Constable Mrith design to set them
in the stocks — but the Fryar and the Pardoner prove
sturdy and will not be stocked, but fall upon the poor
Parson and Constable, and bang them so heartily,
that at last they are glad to let them go at liberty-
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86
OLD FLAYS.
and BO the farce ends with a drawn h9i^e—(IIistaria
Histrianica.)
This piece was re-printed, in the black letter, some
few years ago — the number of copies was purposely
veiy small, that each copy might be sold at an un-
reasonable price.
Gammer Gurton's Needle used to be considered
as our first regular Comedy, but Collier, in a note
to that play, as re-printed by himself in 18^, proves
that Ralph Royster Doyster was written before it.
In the Catalogue of Mn Field's Sale in 1827, the
684th lot is Ralph Royster Doyster— it is said to
have been privately re-printed in 1818, and to be
scarce, as nearly the whole of the copies had beenao*
cidentally destroyed.
Ralph Royster Doyster was again re-printed in
1830— it was then sold for sixpence.
Ralph Royster Doyster is a good C. — it is a regu-
lar play divided into acts and scenes, and interspersed
with songs — Matthew Merry-greek lives by his wits
— ^Royster Doyster is a foolish fellow, who has a very
good opinion of himelf— he wants to many Christian
Custance — she is a widow, but betrothed to Gawyn
Goodlucke—she rejects Royster Doyster's addresses
— he writes her a letter — Merry-greek, for the sake
of a joke, reads the letter aloud, exactly as it is writ-
ten, but with wrong stops — so as to make it appear
as extremely uncivil— Christian Custance is naturally
offended — Royster Doyster sends for the scrivener
who had indicted the letter, and is very angry with
him— the scrivener reads the letter with proper stops^
and then it appears as very civil — Royster Doystw
and Christian Custance quarrel— his men and her
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womoD fight — Merry-greek pretends to strike at
Christian Custance, but his blows fall on Royster
Doyster — the women drive the men off the stage —
at the condusion, Goodlucke and Christian Castance
are united — she and Royster Doyster are reconciled.
Bold Beauchamps— this old play is supposed to be
no longer in existence, but it is mentioned in the
Knight of the BurningPestJe— the Wife in the Ist soene
says — ** My husband hath promised me any time
'* this twelvemonth, to carry me to the Bold Beau-
<« chams, but in truth he did not'' ^In the Goblins,
the 1st thief speaks of << The author of the Bold Beau-
*^ diams and England's Jo)^"— -In the Playhouse to
be let, the Player mentions Tamberlane, Dr. Faustus
and the Bold Beauchamps — The Prologue to the
Dumb Lady says that people formerly came to the
theatre, ** To cry up the Bold Beauchamps of the
« stage" — the Bold Beauchamps are also mentioned
in the Epilogue to Every Man in his Humour as re-
vived*
Battle of Alcazar — Abdilmelec, with the assist-
ance of the Turks, dethrones Muley Mahomet the
King of Barbary — Muley Mahomet is a tyrant, and
seemingly an usurper — Muley Mahomet and his
son, on being driven from their dominions, apply to
Sebastian, the King of Portugal, for his assistance
— Sebastian undertakes to restore them — Stukely,
whoai the Pope had made Marquis of Ireland, is
driven by stress of weather into Portugal-4ie, with
the troops under his command, is prevailed on by
Sebastian to accompany him in his expedition to
Africa— the Battle of Alcazar takes place-^Sebas-
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tian and the two Moorish Kings are slain — Stukely
dies of the wounds which he had received— the dead
body of Sebastian is brought in — Abdilmelec^s bro-
ther orders it to be buried in an honourable manner
— Dryden in his preface to Don Sebastian says —
<< We are assured by all writers of those times, that
<< the body of Sebastian was never found in the field
« of battle/*
Fuller, as quoted in the Curiosities of Literature
vol. 2 p. 395, says — " Stukely was a younger bro-
" ther of an ancient wealthy family — ^being one of
** good parts, but valued the less by others, because
'< overprised by himself — having prodigally mis-spent
" his patrimony, he entered on several projects * *
<< so confident was his ambition, that he blushed not
<< to tell Queen Elizabeth that he was assured he
" should be a prince before his death • • He
^' won the favour of Pope Pius the 5th, and even
** perauaded him that with 3000 men he could beat
" the English out of Ireland * • at length he
** was furnished with 800 men, paid by the King
" of Spain for the Irish expedition • • in his
<< passage Stukely landed at Portugal, just when
^* Sebastian, the King thereof, with two Moorish
<< Kings, were undertaking a voyage into Afi*ica —
** Stukely was persuaded to accompany them * *
** Sebastian, against the advice of Stukely, would
*< immediately give battle, though the army was in
<< great need of refreshment — He and his friends
" were wholly defeated, and Stukely, with his 800
<< men, perished, fighting courageously — on which
" Fuller writes two verses —
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*' A fatal fight, where in one day was slain,
" Three Kings that were^ and One that would he
''Jain:'
The Battle of Alcazar is said to have taken place
on the 4th of August 1578— the play was printed in
1594 — it had been acted by the Lord Admiral's ser-
vants— it has not much to recommend it, but as it
was written in the infancy of the Drama, it does
the unknown author no discredit ^this play was
80 scarce, that Thorpe in 1825 put it in his cata-
logue at £6. I6s. 6d. — I purchased my copy of Rodd
in 18S7 for £3. Ids* 6d ^the play has been since
reprinted.
Mucedorus — Malone considers this C. as exhibited
in 1597 — It seems to have been printed in 1598 — in
the edition of 1668, it is said to have been << ampli-
*' fyed with new additions, as it was acted before the
'' Sang (probably James the 1st) at Whitehall on
'' Shrove-sunday night, by his Highness* Servants
" usually playing at the Globe" Mucedorus, the
son of the king of Valentia, wishes to ascertain if
Amadine be as beautiful as she is reported to be —
he assumes the disguise of a shepherd — Amadine's
father, the King of Arragon, had promised her to
Segasto — Segasto and Amadine are walking in a
wood — they are pursued by a bear — Segasto runs
away — Mucedorus kills the bear, and rescues Ama-
dine— she falls in love with him — they agree to meet
at a well in the wood— Bremo, a wild man, seizes on
Amadine, meaning to eat her— he falls in love with
her — Mucedorus, in despair for the loss of Amadine,
tarns hermit— Bremo puts his club into the hands of
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Mucedorus, and gives him iostructionB how to use
it — Mucedorus kills Bremo with his own club — he
discovers himself to Amadine— the play ends with
their union, which takes place with the approbation
of both Kings — this is on the whole a good C. — it
is short and not divided into acts — Mouse, the
Clown, is an important character.
Weakest goes to the Wall — ^the 1st edition of this
play is said to have been printed in 1600 — there is
another edition in 16 18— it had ^' been sundry times
<' plaid by the right honourable Earle of Qxenford,
*^ liOrd great Chamberlaine of England, his ser-
<< vants'' — it begins with a dumb show-r-the Duke
of Anjou kills the Duke of Burgundy — the Dutehess
of Burgundy leaps into a river to avoid the French
— she leaves Frederick, who is her nephew and an
infant, on the bank— the Duke of Brabant finds the
child — here ends the dumb show — the King of
France is very desirous to set out on a pilgrimage
to Jerusalem — he reconciles the Dukes of Anjou
and BuUoigne — and appoints them to govern during
his absence— Lodwick Duke of BuUoigne is brother
to the Dutehess of Burgundy — Anjou is so far from
being sincere in his reconciliation, that he drives
Lodwick by force of arms from BuUoigne — Lodwick,
with his wife and daughter, Oriana and Diana,
makes his escape into Flanders — Lodwick is
reduced to poverty — he leaves his wife and daughter,
and sets out to seek his fortune — he arrives at Ards
in Picardy — he begs alms of Sir Nicholas, the
Curate — Sir Nicholas has no money to spare, but
offers him the place of sexton which is vacant —
Lodwick accepts the offer— * in the mean time the
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OLD PLATS. 91
Spaniards invade France — they carry all before them
— Anjou opposes them, but is put to flight — the
Dake of Brabant had brought up the child whom he
had found, without knowing who he is— he calls him
Ferdinand— Ferdinand becomes a man— he falls in
lo?e with Odillia, the Duke^s daughter— she falls in
love with him — they make their escape, and come to
Ards, where they are married — Lodwick being at
that time sexton— Ferdinand's money is exhausted
— he is forced to leave Odillia, and enter into the
French army — the Duke of Epernoune and the rest
of the French nobility issue a proclamation, inviting
the Duke of BuUoigne to resume the government
of the kingdom— he leaves Ards in consequence of
the proclamation— a battle takes place between the
French and Spaniards — ^the latter are defeated —
Ferdinand distinguishes himself in the battle— the
Dukes of Brabant and Bulloigne join the Duke of
Epernoune — ^the Duke of Brabant, on seeing Ferdi-
nand, is in a rage — he insists that Ferdinand should
be put to death, according to law, for having stolen
the heiress of a prince without being a prince him-
self— ^Ferdinand turns out to be Frederick, and the
son of the Duke of Bulloigne — the Duke of Brabant is
reconciled — Odillia, Oriana and Diana arrive, and
all ends happily-^ this is a good play — it seems to be
entirely fiction — Barnaby Bunch, an English tailor,
is a good comic character — he becomes sexton at
Ards on the departure of Lodwick.
Jack Drum's Entertainment, or the Comedy of
Pasquil and Katherine— Pasquil and Katherine are
mutually in love — Mammon hires a person to kill
Pasquil — ^Pasquil pretends to be dead— Katherine
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OLD PLAYS.
runs away — Mammon meets her, and poisons her
face with the oil of toads — Pasquil goes mad — at
the conclusion Katherine recovers her beauty, and
Pasquil his wits — there are two unimportant under-
plots—Camelia, Katherine's sister, jilts John Ellis,
refuses Brabant Junior, and courts Planet — at last
no one of them will marry her — Brabant Senior
fancies himself very clever— he sends a Frenchman
to his wife as if she had been a courtezan — he ex-
pected his wife would have treated the Frenchman
scurvily — instead of which he finds himself made a
cuckold— Jack Drum is one of the D.P., but he has
not much to do — ^this is a poor C. by an unknown
author — it was acted by the children of Paul's — the
1st edition is said to have been printed in 1601 —
there is another in l6l6.
When you see me, You know me, or the famous
Chronical History of King Henry the 8th, with the
birth and virtuous life of Edward, Prince of Wales
— the 1st edition of this play is said to have been
printed in 1605 — the 2d in 1632— it was written by
Samuel Rowley, and had been acted by the Prince
of Wales' servants— it is not divided into acts — it
begins in 15879 ^^^ extends to 1546 — that is to
the last year but one of the King*s reign — as the
author calls his piece a chronical history, he is in-
excusable for the anachronisms of which he is guilty
— Cardinal Wolsey is not disgraced till very near
the conclusion -^ Campeius, in the Pope's name,
gives the King the title of Defender of the Faith
several years after the King had quarrelled with
the Pope — the Emperour Charles the 5th came
into England in 1522 — in the play, he makes his
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OLD PLATS* 93
visit in the last scene— about the middle of the play,
the King disguises himself— he is taken up by the
Constable and Watch, and put into prison — Will
Sonamers, the King's Fool, is one of the principal
characters — he takes great liberties with the King
— in the last scene, the King, the Queen, and the
Emperour rhyme with him — he is gross in two of
his replies— there is a small print of Will Summers
— he has H. R. on his breast— it does not appear by
whom, or at what time, this print was published.
Sir Gyles Goose-cappe — the first edition of this C.
is said to have been printed in 1606 — ^there is another
edition in 1636 — it had been acted in Salisbury
Court — it is a very poor play — there is little plot or
incident, and nothing in the dialogue to make
amends for these deficiences.
Cupid's Whirligig — this C. was acted by the
children of the Revels — it seems to have gone
through three editions — the first is said to have been
printed in I6O7 — it is a poor play, with nothing to
recommend it, except some low humour in the
dialogue.
Muleasses the Turk. T. by Mason 16 10 — the
Dukes of Ferrara and Venice court Julia, the
Duchess of Florence — her uncle, Borgias, pretends
that she is dead, and invites them to her funeral — he
wants to marry her himself— for this purpose he en-
gages Muleasses to poison his wife, Timoclea, and
promises him his daughter Amada, in recompense
— Muleasses has a criminal intercourse with Timo-
dea, and only gives her a sleeping potion — she kills
her daughter Amada from jealousy — Boi^gias kills
Timoclea — Muleasses attempts to ravish Julia — he
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and Borgias are killed — Julia marries the Dake of
Venice — there are some comic characters — on the
whole this is not a bad play.
Fleire — Antifront is dispossessed of the Dukedom
of Florence by Piso Senior — his daughters, Florida
and Felicia, had gone to England — he follows them
in disguise — he assumes the name of Fleire, and
becomes servant to his daughters — Piso, the son of
the Duke of Florence, and Sir John Havelittle are in
love with Florida and Felicia — the ladies persuade
them to kill Sparke and Ruffell — Fleire, disguised
as an apothecary, sells them an opiate instead of a
poison — Piso and Sir John are tried and condemned
for poisoning Sparke and Ruffell — ^the ladies are also
condemned as parties in the murder — a messenger
arrives from Florence, and tells Piso that his father
is dead — Piso declares his wish to resign the duke-
dom to Antifront — Fleire discovers himself — says
the supposed dead men are alive — and gives bis
daughters to Piso and Sir John — Fleire is a very
good character — and the play on the whole a tole-
rable C. — it was written by Sharpham— and acted at
Blackfriars by the Children of the Revels — the 1st
edition is said to have been printed in 1 610 — there
is another edition in 1631.
Christian turn'd Turk, or the Tragical Lives and
Deaths of the two famous Pirates, Ward and Dan-
siker 1612 — Langbaine supposes that Dabom
founded this play on the story of Ward and Dansiker
which was printed in 1609 — the Ist scene lies in
Ward^s ship off the coast of Ireland— Ferdinand and
Albert had come on board the ship, believing Ward
to be a merchant — a sail is descried, and Ward puts
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OLD FLATS. 95
off to sea — Ward and his party take a French vessel
— Francisco, the captain of another ship, who was
in pursuit of the French vessel, claims half the booty
— while Francisco and Ward are fighting. Gallop
and the rest of the crew make off with Ward's ship
— Francisco and Ward become friends — the re-
mainder of the play (with a slight exception) passes
at Tunis — Benwash is a Jew who is connected with
all the Pirates — Agar, who is his wife, falls in love
with Gallop — Yoada, her sister, falls in love with a
French lady who is disguised as a boy — Gallop re-
eonciles himself to Ward — Ward sells Ferdinand
and Albert as slaves — Ward falls in love with Yoada
and for her sake turns Turk — Benwash discovers
that Gallop and his wife have made him a cuckold
—in the last scene, he gets them into his power, and
kills them — he hangs his servant — the Govemour of
Tunis, &c. enter — Benwash accuses Dansiker of
having committed the murders — he afterwards con-
fesses that he committed them himself — Benwash
and Dansiker are put to death — Ward kills Yoada—
and then himself — in the course of the play several
other deaths take place — ^the incidents are very tragic
—but great pait of the dialogue is comic — the play
on the whole is not a bad one — it had been acted,
but it does not appear at what theatre — Dansiker
seems to have lived in the reign of Henry the 4th of
France*
Hector of Germany, or the Palsgrave, Prime
Elector 1615 — this play takes place in the reign of
Edward the 3d of England, but after the death of
the Black Prince — Edward and the Palsgrave are
desirooB of having the Duke of Savoy elected £m-
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perour of Germany — the Palsgrave is sick, and not
able to exert himself — Saxon Cfor so the Duke of
Saxony is called) and his party elect the Bastard of
Spain —that is Prince Henry of Castile — the Pals-
grave recovers — he follows the bastard into Spain —
a battle ensues — the bastard is taken prisoner «—
Saxon rescues him^-the Palsgrave comes into Eng-
land—Edward makes him a Knight of the Grarter
— Saxon and the bastard apply to the King of France
for his assistance— Edward and the Palsgrave land
in France — the King of France, &c., fall into their
hands — the Palsgrave and Saxon fight — Saxon is
killed — the bastard is deposed, and the Duke of
Savoy made Emperour — there is an important un-
derplot — Lord Fitzwaters and his son are in love
with Floramell the daughter of Lord Clynton — she
is in love with the son — her page, in her clothes,
and under a veil, is married to Lord Fitzwaters— in
the mean time the lovers make their escape — they
are shipwrecked— each ofthemgetsto France, but
separately — the King of France falls in love with
Floramell— at the conclusion. Lord Fitzwaters re-
signs Floramell to his son ^this play is called an
honourable history — several of the D. P. are real
persons, but all the incidents seem to be fictitious
—see Voltaire's Annals of the Empire and Rapin —
the play is far from a bad one — it was written by
W. Smith — it had been acted at the Red Bull, and
at the Curtain by a company of young men of the
city — it is said in the Prologue to have been written
soon after the marriage of Elizabeth the daughter of
James the 1st — this marriage took place on Feb. 14
l6lS-d — in the dedication. Smith mentions a play
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OLD PLATS. 97
which he had previously written — be calls it the
Freeman's Honour — and says it had been acted by
the now-servants of the King.
Honest Lawyer 1616— this is a tolerably good C.
hy S. S. — it had been acted by the Queen's servants
—the scene lies at Bedford— Gripe is an usurer —
his son, Benjamin, is the Honest Lawyer — Vaster
fancies his wife had made him a cuckold — he sells
her for £50 to the mistress of a brothel— Vaster's
wife is chaste, and affectionate towards her husband
— Vaster deserts his family and assumes a disguise —
his son and daughter are reduced to want— they are
assisted by Benjamin — in the course of the play
Benjamin marries the daughter — Gripe takes Vas-
ter's wife into his house— she calls herself the widow
Sorrow — Vaster, Curfew, and Valentine pretend to
be fairies — they drop small pieces of money about
Gripe's chamber for S or 3 nights— in the 4th act,
they rob him of £S00— he suspects the widow of
having been accessory to the plot on him, and gives
her a dose of poison — his son had taken care that
the poison should be harmless — ^the widow pretends
to die — Gripe is put into prison— he sends Nice on
a message of importance — Nice has great faith in
almanacks and omens — Thirsty climbs up into a
tree, and makes a noise like a raven — Nice turns
back — Nice is far from a bad character — in the last
scene, an Abbot is deputed by a Judge to try Gripe
md some other prisoners — Benjamin promises to
save his father's life, if he will make him his heir —
Gripe signs the deed of gift — Benjamin produces the
widow in court — Vaster is reconciled to his wife —
Gripe renounces his usurious practices.
VOL. Z« H
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A Woman will have her Will 1631— the first edi-
tion of this play is said to have been printed in 16 16
as Englishmen for my Money, or a Woman will have
her Will'' — and this is the running title of the edition
in 1631 — ^this C. is attributed to Haughton— it is not
divided into acts —and is a pretty good play — Pisaro
is a Portugueze Merchant, who had long been settled
in London — his three daughters — Laurentia, Marina,
and Mathea are in love with Heigham, Harvy, and
Walgrave — Pisaro intends to marryhis daughters to a
Dutchman, an Italian, and a Frenchman — he directs
them to come to his house at night — ^the Englishmen
contrive to make the Foreigners lose their way in
the dark — they get the girls out of the house, and are
going to run off with them, when they are surprised
by Pisaro — Anthony is tutor to the girls, and in their
interest— Laurentia makes her escape in Anthony's
clothes, and is mairied to Heigham—Walgrave en-
ters disguised as a woman —Pisaro takes him for Mrs.
Susan Moore whom he expected, and sends him to
bed with Mathea — Pisaro is told that Harvy is dying,
and had made a deed of gift of his land to Marina —
in order to secure the land, he gives Marina to Harvy
for his wife — Harvy immediately becomes well — at
the conclusion Pisaro is reconciled to his daughters.
Bloody Banquet T. by T. D- l620~the King of
Lydia had called in Armatrites, the King of Cilicia,
to his assistance against the Lycians— when the war
is over, Armatrites usurps the throne of Lydia, and
banishes the king— he does not banish the king's son,
Tymethes, as being the particular friend of his own
son, Zenarchus — Tymethes and Amphridote, the
daughter of Armatrites have a mutual attachment-
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the young wife of Armatrites resides in a castle — ^the
king seems only to visit her occasionally — she falls in
love with T3rmethe8 — Roxano, by her desire, brings
Tymethes to her, taking the precaution to blindfold
him on his road— he is entertained with a banquet —
the queen & her attendants are all masked— Mazeres,
theking*sfavourite,having bribed Roxano, is disguised
as one of the attendants— the queen makes Tymethes
a handsome present, but particularly warns him that
if he should get to know who she is, his death would
be the consequence — in the course of the night he
privately takes a ring from her, hoping thereby to dis-
cover the person who had granted him such favours
— the ring eventually comes into the hands of the
king, who knows it to be his wife's — Tymethes, on
his second visit to the queen, takes out a dark lan-
thom he finds the queen asleep— she wakes, and is so
offended at the discovery, that she kills Tymethes—*
the king enters soon after — she pretends that Tyme*
thes had attempted to ravish her — the king is not
imposed on, having heard the truth from Mazeres —
Amphridote, on finding that Tymethes had been un-
&ithful to her, transfers her love to Mazeres — ^Zenar-
chus, to revenge his friend, instigates his fisither to
put Mazeres to death— he boasts of this to Amphri«
dote — she poisons him and herself— in the last scene,
the old king of Lydia, and some of his friends enter
disguised as pilgrims — Armatrites orders them re-
freshments— a separate table is placed for the queen
—the attention of the Lydians is attracted by the
three quarters of T3rmethes, which are suspended in
their sight — ^Armatrites says, that the other quarter
had been dressed for the queen, and that she should
H 2
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100 OLD PLATS.
eat ber paramoar rib by rib — the Lydianskill Arma-
trites, but he has time to kill the queen before they
kill him— the old king is restored to his throne—
this T. has considerable merit — it is written partly
in rhyme, and partly in blank verse — the plot has
the appearance of having been taken from some old
story book.
Swetnam, the Woman-hater, arraigned by Women
— Langbaine says that Joseph Swetnam published
his pamphlet against women in l6l7 — the play was
printed in 1620 — is is said to have been acted at the
Red Bull by the late Queen's servants — the scene
lies in Sicily — at the opening of the play, the King's
elder son is lately dead — his younger son, Lorenzo,
had not been heard offer 18 months — the King com-
mits his daughter, Leonida, to the custody of Nica-
nor, and forbids any body to see her, without his
special permission, under the penalty of death — ^Li*
sandro, the Prince of Naples and Leonida are mutu-
ally in love — Lisandro visits her in the habit of a
Friar — he is discovered — Lisandro and Leonida are
brought to their trial — the King says that, according
to law, the principal offender is to be put to death,
and the other only banished — Lisandro insists that
he is the principal offender — Leonida insists that she
is the principal offender — the judges cannot decide
the point — Lorenzo, who had returned to Sicily, is
disguised as an Amazon, and under the name of At-
lanta— it is agreed that Swetnam, or Misogynos as
he calls himself, should plead the cause of men
against women — and that Atlanta should defend the
women from his imputations— the victory is adjudged
to Misogynos, and Leonida is condemned to deaths-
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OLD PLATS. 101
Lisandro, on seeing her hearse, stabs himself, but not
mortally — Misogynos falls in love with Atlanta — the
supposed Atlanta invites him to come to her» and
then delivers him to the women, who show him no
mercy — a masque is performed before the King—
the performers are Lorenzo, Lisandro, and Leonida,
in disguise — the King is prevailed on to give Leonida
to Lisandro, and to take an oath that he will never
part them — they discover themselves, and all ends
happily — in the Epilogue Swetnam enters muzzled,
and hailed in by the women — he promises to employ
the remainder of his life in the defence of the female
sex— this is a good play— the author is unknown.
<' Pathomachia, or the Battle of Affections, sha-
** dowed by a feigned siege of the city Pathopolis,
" written some years since, and now first pub-
'* lished by a finend of the deceased author 1630*'
— the author first enumerates the 15 affections,
which are the subject matter of his book — then the
11 virtues, regulating those affections— and lastly
the 25 vices, extremes to those virtues — the princi-
pal speakers are. Love, Hatred, Justice, Pride, Ma-
lice, &c. — this piece is not badly written, but as a
Drama it is dull.
Rhodon and Iris 1631 — this is a pretty Pastoral
by Knevet — the Shepherd Rhodon (the rose) is in
love with Iris (the lily) — Eglantine is in love with
Rhodon — by the persuasion of Poneria, she gives him
a strong poison believing it to be a philter — he nearly
dies, but is recovered by an antidote which Panace
brings him — in the last scene, Rhodon and hie
fiiends are on the point of having a battle with Mar«
tagon and his party — the Goddess Flora appears.
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102 OLD PLATS.
and enjoins them all to keep the peace — ^Poneria the
Witch, and Agnostus an Impostor, are banished from
Thessaly— this piece is dedicated to the society of
Florists— it is written partly in blank verse and partly
in rhyme.
Life of the Dutchess of Suffolk, as it has been
sundry times acted with good applause, 1631 — this
historical piece is attributed to Drue — it is not a bad
play — the Dutchess is the widow of the Duke of
Suffolk, who is one of the D. P. in Henry the 8th—
she was Lady Willoughby de Eresby in her own
right — in the 1st act, she declines the addresses of
the Count Palatine, and marries Richard Bertie — on
the accession of Queen Mary to the throne, she is
persecuted by Bonner and Gardiner, as being a
zealous Protestant — she gets out of England in dis-
guise, and with difficulty — on the continent she is
still persecuted — she is several times in great danger,
but at last she gets into the dominions of the Count
Palatine, who recognizes and protects her — news
are brought of the death of Queen Mary — the
Dutchess returns to London, and rewards all those
who had assisted her in her distress— Drue has not
dramatized her history faithfully — he represents her
as nearly related to the royal family — which is a
gross mistake — he has evidently confounded the
Dutchess of this play with the Dutchess of Suffolk,
who was the daughter of the Duke by the sister
of Henry the 8th— in the 4th act, the Dutchess is
brought to bed of a son — Bertie gives him the
name of Peregrine, as being bom in a strange
country — this is quite correct — Peregrine has al-
ways continued to be a family name — in the 3d act,
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OLD PLAYS. 103
Bertie and the Dutchess take up their abode in a
Church porch—the Sexton disturbs him, and Bertie
strikes him— this is also correct — the late General
Bertie, when on his travels, found in the Church
at Weeel, an inscription relative to this circumstance
— he caused the inscription to he renewed — in the
4th act, Latimer and Ridley are led off to be burnt
— some of Latimer's sermons are expressly said to
have been preached at Grimsthorpe, the family seat
of the Dutchess of Suffolk in Lincolnshire — Sir
WaltOT de Bee came into England with William the
Conqueror, who gave him the manors of Spilsby
and Eresby in Lincolnshire — these manors have
continued in the family to the present time — one of
his descendants was made Lord Willoughby de
Eresby by Edward the 2d — the Lord Willoughby
who 18 one of the D. P. in Richard the 2d is Lord
Willoughby de Eresby — the Baronies of Willoughby
de Parham and Willoughby de Brooke were of later
creation — Lord Willoughby was made Ebrl of Lind-
sey by Charles the Ist — the Earl of Lindsey was
made Marquis of Lindsey and Duke of Ancaster
and Kesteven by George the 1st — these last titles
became extinct in 1808 ^— General Bertie succeeded
to the Earldom of Lindsey — the Duke's niece had
previously succeeded to the Barony of Willoughby,
that title going in the female line — the last Duke of
Ancaster was a good husband, a good father, a good
landlord, and a good master — <* bonum virum facile
^'dixeriSf maffnum libenter.*'
Sioelides— this play was printed in l6dl, but it is
said to have been written in 1614 — it is attributed
to Pbineas Fletcher, who calls it a Piscatory, as
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104 OLD PLAYS.
most of the D, P. are Fishers — it had been acted
in King's College, Cambridge — the scene lies in
Sicily — Perindus is in love with Glaucilla — Tba-
lander is is love with Olinda — Olinda, having ga-
thered a golden apple in Neptune's garden, is con-
demned to be devoured by a monster — Tbalander
kills the monster— Olinda, by Glaucilla's persuasion,
takes an opiate she is supposed to be dead — Glau-
cilla is sentenced to leap from a rock — Perindas
undertakes to suffer the punishment instead of Glau*
cilia — he leaps from the rock into the sea without
being hurt — at the conclusion Tbalander and Pe-
rindus are united to Olinda and Glaucilla — this play
has little to recommend it either in the plot or lan-
guage — the serious scenes are chiefly written in
rhyme — ^there is a comic underplot.
Rival Friends 16SS— this play in the title page is
called <* A Comedy, as it was acted before the King
" and Queen at Cambridge March 19 16SI— Cryed
*<down by boys, faction, envy and confident ignorance,
" approved by the judicious, and now exposed to pub-
" lick censure by the author Pet. Hausted M. A, of
" Queen's College'* — this is cei-tainly a good C— it
appears from the preface, that the objections made
to it were frivolous — Lucius and Neander are both
in love with Pandora — they are such disinterested
friends, that each of them uses a stratagem in order
to get Pandora to marry the other — for this purpose,
Neander marries, as he supposes, a boy in girl's
clothes — she turns out to be Constantina, whom he
had forsaken — Lucius, for the same purpose, pre-
tends that nature had put it out of his power to be a
husband — at the conclusion. Pandora marries Endy-
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OLD PLATS. 105
mion, and LuciuB marries Isabella, to whom he had
been formerly attached — this part of the play is
rather serious — the merit of the piece consists
chiefly in the comic characters of Anteros, Lively,
Loveall) Sacrilege Hooke, Stipes, &e. Saeril^e
Hooke is the patron of an impropriated parsonage —
he intends the next presentation as a portion for his
daughter, Ursula — she is deformed and foolish, but
has no less than 6 suitors for the sake of the living —
Anteros is a hum6rous mad fello^F that cannot en-
dure women — in order to avoid them, and to lie con-
cealed, he hires himself as a servant to Stipes,
Hooke's shepherd — Stipes' daughter, Merda, who is
a dowdy and almost a changeling, falls in love with
Anteros — Stipes, suspecting that Anteros has been
too intimate with Merda, ties him to a tree, and
goes in to fetch a cudgel — Anteros gets Loveall to
oiitie him, dresses himself as a gentleman, and is
again tied to the tree — Stipes on his return is as-
tonished at the metamorphosis — Anteros tells him
that the tree is a favourite with Oberon, and that
whoever is tied to it will be turned into a gentleman
— Stjpes requests that he and Merda may be tied to
the tree — Ursula dislikes all her suitors, and wishes
to marry Anteros — Hooke gives Anteros the mort-
gage of his fieither's estate, and the presentation to
the parsonage, on condition that he will maiTy Ur-
sula — Anteros with much reluctance consents —
Loveall releases him from his engagement by telling
him that Ursula is his sister, and not really the
daughter of Hooke — Anteros gives his sister, and
the presentation to a Bachelor of Arts — in the Epi-
logue he says, that the presence of the Queen has
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106
OLD PLAYS.
worked a miracle on him, and made him a convert
to the merits of the female sex — ^their Majesties were
of course to be complimented in the Prologue and
Epilogue — the conceit in the short Prologue is plea-
sanl^ and probably new — in the Epilogue, the author
has evidently borrowed a hint from Ben Jonson's
Epilogue to Every Man out of his Humour, when
acted before Queen Elizabeth.
Costly Whore 1633 — the scene lies in Saxony —
the Costly Whore is Valentia— the Duke falls in love
with her, and marries her— his son, Frederick, is so
offended that he take up arms against his father — an
engagement ensues — Frederick takes Valentia pri-
soner—he restores her to the Duke on condition of
a general pardon— the Duke breaks his word — sends
Frederick to prison— and signs a warrant for his ex*
ecution — Euphrata, the Duke's daughter, marries
Constantino, who is only a private gentleman — the
Duke condemns them likewise to death — Frederick
is brought in on a hearse —Constantino and Euphrata
on another — the Duke is sorry for the death of his
children— he reproaches Valentia^Valentia had been
correct in her conduct since her marriage — she had
made Frederick drink poison, as he supposed, but she
knew it to be only an opiate — Frederick awakes —
Constantino and Euphrata were not really dead —
they had made their escape from prison, and were
said to have been drowned in the Rhine— Valentia
prevails on the Duke to join with her in devoting
the remainder of their lives to the duties of religion
this is a pretty good play — part of it is written
in rhyme — it had been acted by the Company of the
Revels.
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OLD VLAYB. IO7
Floating IslaDd — this play was written by Strode
— it was not published till 1655 — it is said in the
titlopage to have been acted before bis iMajesty at
Oxford Aug. 29 lt>36, by the Students of Christ-
Church— from the Prologue it appears that the Queen
was also present— there are a second Prologue and
£pil(^e addressed to the members of the Univer*
sity, before whom it was afterwards acted— the D. P.
are the Passions, &c- personified — Anger is called
Irato, and so on^the Passions depose Prudentius,
their lawful king, and instate Fancy as queen — at
the catastrophe, Prudentius is restored to his autho-
rity— the Prologue, after the appearance of a Float-
ing Island, enters as coming out of the sea — in the
Epilogue the Isle is said to be settled — some parts of
this Tragi-Comedy (or rather Mask) are well written,
but on the whole it is very dull.
Valiant Scot — a historical play by J. W. 1637 —
the Valiant Scot is Wallace — Haslerig, Selby, &c.,
who are rulers over Scotland, under Edward the 1st
of England, abuse their power — Young Selby endea-
vours to marry Pe^y by force — Wallace kills him —
Wallace surrenders himself to the English on con-
dition of their setting Peggy at liberty— he is rescued
and marries Peggy — Haslerig and Selby kill old
Wallace, Peggy and a Friar — Wallace cuts out the
tongue of one of the English Ambassadours, and puts
out the eyes of the other — at the end of the ^d act,
he goes to the English camp in disguise— in the Sd,
he is shipwrecked on his return from France— in the
ith, there is a good deal of fighting — Grimsby, in the
stage direction, is said to be slain, yet he appears
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108 OLD PLAYS.
alive in the next act — Wallace wishes to detach
Bruce from the English interest — they agree to meet
on Glascow moor — three Ghosts appear to Wallace
— two of whom warn him not to meet Bruce — Ed-
ward had offered ten thousand crowns for Wallace's
head — Comin and Monteith treacherously knock
down Wallace as he is going to his appointment with
Bruce — Wallace is delivered to Edward, and con-
demned to die the death of a traitor — ^before he is
carried off, he kills Monteith with his fist— Edward
gives Bruce the crown of Scotland on condition of
his taking an oath of fealty — Bruce stabs Comin—
most of the English act dishonourably — but Clifford
is a man of strict honour — Bolt is a good comic
character — Peggy and the Fryar talk in the Scotch
dialect — the other Scotch characters speak good Eng-
lish— on the whole this is not a bad play— Rapin ob-
serves, that Wallace was a hero who deserved a better
fate, and that he was unjustly executed as a traitor,
as he had never acknowledged the jurisdiction of
Edward.
Seven Champions of Christendom— this play was
printed in 1638 — it had been acted at the Cockpit,
and at the Red Bull Calib, the Witch, is in love
with George — she entrusts him with her wand-
George is anxious to know who his parents were— he
waves his wand, and the Ghosts of his father and
mother appear— his father says that he was Earl of
Coventry — that the Witch had killed him and his
wife — ^and carried off George himself— he enjoins
George to punish the Witch— George causes a rock
to open, and the Witch sinks into it— Suckabus, the
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OLD FLAYS. lOQ'
Oown, is the son of the Witch and a Devil — Geoi^e
spares him, and takes him for his servant — George
sets the other six Champions, who were confined in
the Witch's cave, at liberty— they sally forth in search
of adventures — in the 3d act, a Chorus observes that
the shortness of time will only allow a small part of
the history of each Champion to be represented — in
the 5th act, six of the Champions, by the treachery
of Suckabus, fall into the hands of a giant called
Brandron — Brandron forces them to fight in his de-
fence—St. George fights with each of them sepa-
rately, and overcomes him — Brandron beats out his
own brains — St. George orders Suckabus to be
hanged — Suckabus promises the King of Macedon to
show him where bis three daughters are,if he will save
his life — the King's three daughters had been changed
into swans— the King of Macedon becomes a Chris-
tian, and his daughters resume their former shapes
—this is far from a bad play — it was written by Kirke
— ^Langbaine says that it is founded on the well
known book of the same title^-Suckabus is a good
comic character.
Conspiracy by Henry Killegrew 16S8— thisT.
wants incident, but on the whole it is far from a bad
play — the plot is simple — the Conspirators depose
and kill the reigning king, who is an usurper— and
restore the crown to Cleander, the rightful heir —
Langbaine says that this play was printed, without
the author's consent, from an imperfect copy — and
that it was re-printed in 1653 in a more correct
manner^ as Pallantus and Eudora— Pallantus is the
chief of the Conspirators, and Eudora daughter of
the usurper— Langbaine adds that when this T. was
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no OLD PLAYS.
acted at Black Fiyars, some cavillers were offended
that Cleander, who is a youth, should speak with so
much discretion and good sense as would better suit
a person of thirty — Lord Faulkland replied, that it
was not unnatural for Cleander to speak at that rate,
as He that made him speak in that manner and writ
the whole play, was himself only seventeen — « see
Tyrant King of Crete in plays not acted 1702.
Martyred Soldier— this T. was written by Henry
Shirley, but not printed till 1638, after the author's
decease — it is said in the title-page to have been
acted at the private house in D. L., and at other public
theatres— in the 1st scene, Genzerick king of the
Vandals is discovered sick on his bed — ^he desires
one of the courtiers to read to him a part of the
chronicle in which is registered the number of the
Christians whom he has put to death— the king soon
after dies, and is succeeded by his son Henrick —
— the Martyr'd Soldier is Bellizarius, the Vandal
General, who has been a great persecutor of the
Christians, but who, with his wife Victoria, and his
daughter Bellina, is converted to Christianity — Two
Angels are part of the D. P.— and plenty of miracles
are introduced —Henrick is stung by a scorpion, and
his physicians are not able to give him any relief —
he is miraculously cured by Eugenius a Christian
Bishop — he had promised Eugenius to set all tiie
Christians at liberty ; but he is so far from keeping
his promise, that he immediately orders Eugenius
to be stoned to death — baskets of stones are brought
in — but they turn as soft as sponges — Henrick com-
mands two camel-drivers to ravish Victoria— one of
them runs mad, and beats out his own brains
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OLD FLAYS* 111
— the other is strack blind — Victoria dies — Belli-
zariuB 18 martyred — Henriok is killed by a thunder-
bolt— and Hubert is elected king — Hubert had pre*
yioasly fallen in love with Bellina, and been con-
verted by her — ^Eugenius was to have suffered mar-
tyrdom, but by the death of Henrick his life is pre-
sCTved — the piece ends with Hubert's declaration
that he will protect the Christians — and with his
marriage with Beilina— there are some comic scenes
— the play is a good one— it is probably founded on
some legend — Langbaine says that it relates to the
time of the 8th persecution.
Sophister 1639— it is clear from the Prologue and
Epilogue, that the anonymous author of this C.
wrote it with a view of having it acted in the Uni-
versity of which he was a member — and it seems
to have been really acted — the characters are certain
Qualities personified— -Fallacy gives his father Dis-
course, a poison, which deprives him of his senses —
his three sons, Demonstration, Topicus and Fallacy
contend for the succession — Fallacy is proclaimed
rightful successor to the crown of Hermenia, and
assumes the name of Sophism— Analysis cures Dis-
course— Fallacy absconds— and Ambiguity, Fallacy's
servant is sentenced to be whipt — ^this play is writ-
ten with a good deal of ingenuity, but from the
nature of the subject, it could hardly fail of being
doll.
Ghost, or the Woman wears the Breeches — this
C. was written in 1640, but not printed till 1653 —
it does not appear who was the author, or at what
dieatre it had been acted— the scene lies at Paris —
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11^ OLD PLAYS.
Rogat and Senio are two gentJemen—Hogat has two
sous— Octavian and Dauphine — Senio has a son and
a daughter — Babilas and Aurelia — Senio had given a
reluctant consent to the union of Octavian and Au-
relia— the play b^ins on the day intended for their
marriage — Babilas and Octavian fight — Octavian is
apparently killed — a Friar finds his body and carries
it to his cell — Aurelia had four suitors, besides Oc-
tavian—her father presses her to marry Philarcbus,
who is old and rich— she consents— at her request
her father takes Engin for a servant —on the wedding
night Aurelia, with the assistance of Engin, com-
pels Philarchus to give her a written promise that
she should have the supremacy in all things — Engin
takes off Philarchus' breeches —he puts them on a
pole, and carries them in triumph before Aurelia— in
the last act, Engin assembles all the suitors to Au-
relia in a cave, under various pretences — ^he arises
from a coffin as the Ghost of Octavian— they are all
frightened, and Philarchus in particular — ^Engio
turns out to be Dauphine — Octavian enters recovered
—Philarchus is forced to settle £200 a year on Dau-
phine—the Friar declares that he had married Au-
relia to Octavian, before her marriage with Philar-
chus— Aurelia was aware that Octavian was alive,
and likely to recover,
Messallina — this T. or rather Historical Play, was
written by Richards — it was printed in 1640, and
had been acted by the Company of his Majesty's
Revels— Silius is attached to his wife and to a vir-
tuous life — ^he is however debauched by Messallina—
she threatens to kill him, if he will not kill his
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OLD PLAYS. 113
wife, Syllana — he promises to do so, but when it
comes to the point he only enjoins her to conceal
herself— Lep da, the mother of M essallina is a lady
of great virtue and chastity — she expostulates with
Messallina on her conduct — but without any effect —
in the 4th act, Silius and Messallina are publickly
married - at the conclusion they are killed— in the
5th act the author has deviated too much from
history, particularly in making Claudius act a more
respectable part than he really did—see Tacitus
Ann. 11 — this is far. from a bad play — some ab-
surdities occur — in the 2d act, Messallina enters with
h pistol — in the 5th, Lepida conceals a hundred
vestal virgins to prevent them from being ravished
— ^for a lively description of Messallina see the
6th Satire of Juvenal from line 115 to line 131 —
for her victory over a prostitute see Pliny lib* 10
cap. 62 — Richards quotes the passage in Latin^
and makes the Bawd expatiate on it in English —
Messallina is one of the few old plays which are
printed with the names of the performers— ~
Oaudius, the Emperour = Will. Cartwright Sen. :
SattfeUus= John Robinson : Silius = Christopher
Goad : Menester = Sam. Tomson : Montanus =:
Richard Johnson : Mela = Will. Hall: M essallina =:
John Barret : Lepida =: Tho. Jordan : Syllana =
Matthias Morris : Cartwright was probably the
father of William Cartwright who acted after the
Restoration.
Rebellion 1640— this T. is on the whole far from a
bad one — it appears from the titlepage that it had
been acted 9 days together, and divers times since^
by his Majesty's Company of Revels— and from
▼OL. X. 1
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114 ' OLD PLAYS.
Chamberlain's address to Rawlings^ that the latter
was young when he wrote his play Sebastiano,
in the disguise of a tailor, and under the name of
Giovanno, gains the love of Evadne<— her brother.
Count Antonio, kills the Governour of Seville in a
quarrel, for this he is condemned to be ground to
death in flUford Mill — the execution is committed
to the care of Petruchio, who brings Antonio to his
castle— his daughter, Aurelia, falls in love with An-
tonio, and requests her father toilet her give the sig-
nal for Antonio's death — he consents — she ties a dog
to the chair, in which Antonio had been placed— she
then stamps— the chair and dog descend- through a
trap, and the noise of a mill is heard — at the end of
the 2d act, the French are defeated, and their Gene-
ral, Rajrmond, is taken prisoner — the victory is in a
considerable degree owing to the bravery of Giovanno
and the tailors — Count Mackvile, the new Governour,
is a villain — he banishes Giovanno and Evadne, and
associates Raymond with himself in a plan for de-
posing the king of Spain, and setting up themselves
— in the last act, a bravo, in the pay of Mackvile,
stabs Raymond — Raymond kills Mackvile— Philippa,
the wife of Raymond, stabs the bravo, and Auristelia
the wife of Mackvile — Philippa dies mad— Mackvile
pretends to ask forgiveness of Antonio, and then
treacherously kills him — Aurelia goes into a nun-
nery— Sebastiano is united to Evadne— the master
tailor contributes considerably to the conduct of the
piece — ^he overhears the plot of Raymond and Mack-
vile, and informs the king of it — ^the king comes to
the tailor's house in disguise, and concludes the play
— ^in the 5th act, the tailors are preparing to act a
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OLD PLATS. 115
play— Vermine, the 3d tailor, wants to play all the
parts — he observes —
« Nay and we do not act as they say,
" With any players in the Globe of the world,
«' Let us be baited like a BuUr
Knave in Grain new Vampt by J. D. 1640— this
Comedy, or rather Play, was acted at the Fortune
theatre — the serious part is bad — the comic is better,
bat even of that a considerable portion is poor stuff
—two scenes are excellent — Julio, the Knave in Grain,
is relieved from poverty by Franciscus— in return he
makes Franciscus jealous of his wife — Franciscus
believes what Julio says without the shadow of a
proof — he wounds his friend, Antonio, and leaves
him for dead — ^his goods are confiscated, and a re«
ward is offered for his apprehension— Julio betrays
him — Antonio recovers from his wounds, which sets
all to rights — Julio is a strange inconsistent charac-
ter— in the serious scenes he is a villain of a black
die-*in the comic ones he is a merry cheat— in the
4th act, Julio buys some satin and plush, says he has
not money enough in his pocket to pay for them, and
desires the mercer to send one of his men to the biar-
ber's where he lodges— Julio tells the barber that the
young man who is coming to him, has occasion for
his assistance as a surgeon*- the resemblance be-
tween this scene and one in the Ordinary is too
striking to be accidental — Julio is next an*ested,
when he plays a good trick on a Doctor and a Ser-
geant.
Sidlf and Naples, or the Fatal Union — this T. was
printed at Oxford in 1640— it had been written some
I 2
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Il6 OLD PLATS.
years before that time by S. H. of Exeter College-
it appears to have been published by one of his
friends without his knowledge — the plot is compli-
cated» and in one point disgusting — the king of Na-
ples had put to death a nobleman called Alberto —
his son» Frederico, meditates revenge— disguises him-
self as a Moor— assumes the name of Zisco— and
gets into the employment of Ursini — Ursini is the
king's favourite and a villain — ^the king of Naples
had conquered Sicily, and killed the king in a battle
— ^notwithstanding that circumstance, he prevails on
Calantha, the princess of Sicily, to marry him— her
page, Sylvio, acknowledges to her, that she is Fe-
licia, the daughter of Alberto, and that she is with
child by the king— in reality she has been intimate
with Ursini, who, by meeting her in the dark^ had
passed himself on her for the king— Calantha, on the
wedding night, agrees that Felicia should be placed
in the king's bed instead of herself— Zisco ravishes
and murders his sister, supposing her to be Calantha
— he stabs the king and then himself— Ursini's vil-
lany is discovered, and he is killed by Calantha —
Zisco, just before his death, runs mad and kills the
Princess — the crown of Naples devolves to Cha^
rintha, the king's niece — she is united to Yalenzo—
there is an underplot which relates to them — on the
whole this is a good play — there are some comic
scenes.
Swaggering Damsell C. by Chamberlaine 1640 —
this play was probably acted, but the titlepage does
not say that it was— it has on the whole a conside-
rable degree of merit — the dialogue is good, but the
plot is not very probable — Valentine makes love to
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OLD PLAY8. 117
Sabina — Bhe at first elights hioiy bat afterwards she
allows him the greatest liberties — he is disgusted at
her conduct, and endeavours to conceal himself from
her by disguising himself as a woman — Sabina, dis-
guised as a man, makes loves to him, and prevails
on him to marry her— Sabina knows him to be Va-
lentine, but he supposes her to be a man, and that
the marriage wUl end in a joke— at the conclusion a
reconciliation takes place.
Noble Stranger 1640— the Noble Stranger is Ho-
norio — in the first scene the King of Naples enters
as victorious over some rebels — ^he had been greatly
assisted by Honorio — in return he makes Honorio
high Marshal, and his friend Fabianus, public Trea-
surer — Honorio and the Princess fall mutually in
love — Fabianus and^Clara do the same — Callidus
informs the King of Honorio's love to his daughter—
the King banishes Honorio and Fabianus — ^in the 5th
act, the King insists that his daughter should marry
the Prince of Portugal — my copy wants about a
couple of leaves, but it seems highly probable that
the Noble Stranger turns out to be the Prince of
Portugal — there is a comic underplot — Pupillus is a
foolish Gentleman — Mercutio, who is a poet, and
two Students of the law, play Pupillus some tricks,
under pretence of inspiring him with wit— they cheat
him of his money, and marry him to a wench — this
is a good play — it was written by Sharpe— and acted
at Salisbury Court — Langbaine properly observes,
that Lacy, when he wrote Sir Hercules Bufifoon, had
probably read this play— see T. R. l684r— Sharpe is
loyal — he makes Callidus say —
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118 OLD PLAYS.
Subjects
^* Must not see» much less say, what misbeoomes
<< Their Prince, 'tis enough we perform what they
** Command, not question why/'
Walks of Islington and Hogsdon with the Hu-
mours of Woodstreet-Compter — Mercuric and
Splendora are mutually in love — her father, Mr.
Nice, opposes the match — in the 3d act, he arrests
Mercurio for a small debt — in the 5th act. Mercuric
is said to have died in prison— his friends bring him
in, in a coffin, and place him before Nice — they
read his Epitaph and sing a Dirge — Nice is sorry
for his death-^Mercuno rises from the coffin — ^Niee
consents to his union with Splendora — Rivers makes
love to Mrs. Trimwel — her husband is jealous — at
the conclusion, Rivers turns out to be Mrs. Trim-
weFs brother — Sir Reverence Lamard, who is dis-
guised as a Frenchman, proves to be Nice's son —
this is a pretty good C. by Jordan *-* it is said in the
titlepage to have been acted 19 days together — it
was not printed till 1657, but it was certainly written
in l64i«-**see the last scene of the 3d act — Tripes,
who is a sergeant, says — ** The players brought me
<< on the stage once, I thank them, in a play called
<< the Roaring Girl, or the Catchpole, he was a pretty
<< fellow that acted me, but he came diiort of the
<< rogueries I have done."
Money is an Ass -— this C. was also written by
Jordan _ it was not printed till 1668, but it was
doubtless acted before the suppression of the rtage
in 1647-8 Clutch wishes his daughters Felixtn^
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and Feminia, to marry two Billy citizens called
Money and Credit — Capt Penniless and Feather-
brain, two prodigals, gain the affections of the yoong
women — ^they pass themselves on Money and Credit
as Mr. Gold and Mr. Jewel, and are introdaced by
them to Clutch as such — at the conclusion, Feather-
brain and Penniless marry Felixina and Feminia —
this is a poor play — it was perhaps a juvenile pro-
dueti<m — ^Jordan acted Capt. Penniless -^ he says in
the Firologue, that the company consisted of 8 per-
sons only, and that he was obliged to confine his
D. P. to that number.
Sophy T. by Sir John Denham 1642 — ibis is fiir
from a bad play — ^it had been acted at Black Friars —
for the plot see Mirza — both the plays are founded
(« hbtorical facts — the main incidents are the same
ia both, but with some important exceptions — Fa-
tima in this play is preserved, and Abbas dies —
Deoham observes in the 1st scene —
^^'Tis the fate of princes, that no knowledge
<< Comes pure to them, but passing through the
eyes
^< And ears of other men, it takes a tincture
<* From every channel, and still bears a relish
** Of flattery, or private ends."
It appears from Ihe Prologue that Denham gave
Ids play to the actors.
Mirza by Baron — Abbas, the King of Persia^ is
instigated against his son, Mirza, by the artifices of
his fiivourite, Mahomet Ally-Beg, and his concalnne,
Floradella — he sends for Mirza to court, and on his
arrival, orders his eye-sight to be destroyed, and
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Mirza himself to be confined in prison — Mahomet
forms a conspiracy to kill Abbas and usurp the
throne — he makes Floradella believe that he will
marry her» but in reality he has no such intention —
Mirza is so enraged at his father, that he kills his
own daughter Fatima, a child about 7 years old,
because he is told that Abbas dotes on her — he next
poisons himself — the conspiracy is discovered, and
the conspirators punished according to their deserts
— Abbas enters before his son's death, and obtains
his forgiveness — Abbas announces Soffie, the son of
Mirza, as his successor — he was really succeeded by
him in 1629-
Many parts of this T, are very well written, and
on the whole it is a good play — but it would have
been much better, if it had not been extended to an
enormous length — besides. Baron has most inju-
diciously made Mirza thoroughly acquainted with
the Grecian mythology and Roman history — Baron
in his address to the reader says, that he had finished
S acts of his T., before he knew that Denham had
written a play on the same subject — he finds &ult
with Denham for preserving Fatima's life, and
making Abbas die, contrary to the real &cts — he
considers the death of Fatima as the most complete
conquest that revenge ever obtained over virtue— he
tells us that Abbas was alive in l626« when Charles
the 1st sent an Embassadour to him — that he took
the hint of this story from a manuscript of that Em*
bassadour^s letter to a friend at Cambridge — and
that the most important passages of it were con-
firmed by Herbert in his Travels. In the 4th act of
this play, Mirza ** takes Fatima by the neck, breaks
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'<itt aDd swings her ]aboat" . he then endeavours to
get hold of Soffie, but is prevented — Denham has
mani^^ed this matter much better — ^in his play Mirza
18 on the point of killing Fatima, but relents — even
the bare intention of such a revenge (however true)
is disgusting — Denham 's play wants incident —
Baron avoids this fault by introducing FloradeUa and
several other persons to^whom there are no corres-
ponding characters in the Sophy — Mahomet and
FloradeUa are important parts and well sustained --*
Baron's play is printed without a date, but it was
probably published about 1647> and certainly before
the death. of Charles the 1st, as it is addressed to
him — Quarles in his complimentary verses to Baron
says —
** Our Isle a Mirz' and Allybeg can give,
<< Thus text and time do suit, and whilst you tell
" Your Tale, we'll easily find a parallel."
By AUyb^ he perhaps meant Cromwell — Baron
has added to his play such copious annotations that
the whole forms a small volume of 264 pages.
Committee-Man Curried — <* a piece discovering
''the corruption of Committee-men, and Excise-men,
** the unjust sufferings of the royal party, the devel-
'' ish hypocrisie of some Roundheads, the revolt for
^ gain of some ministers — not without pleasant
".mirth and variety — ^by S. Sheppard 1647" — this
litde piece is divided into 5 acts, but it does not
iDQch exceed the usual length of one act— the greater
part of it is poor stuff— the songs at p. 8 and p. 9 are
stolen from the Goblins — the verses at p. 11 from
Brennoralt ->- Langbaine says that there is a second
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12S OLD PLATS.
part — and that the author has plundered almost
all of Suckling's pieces.
Love in its Extasie, or the Large Prerogative —
the scene lies in Sicily — Charastus, the King of Le-
lybsBus, is dotingly in love with Flavanda, the sister
of Bermudo — she refuses to marry Charastusy unless
he will resign his crown to Bermudo — he consents
to do so — Bermudo is made King — Flavanda had
previously exacted an oath from Bermudo, that he
would restore the crown to Charastus, as soon as his
marriage with Flavanda should be solemnized — Ber-
mudo allows die force of the obligation — but makes
a proclamation that whoever should acknowlec^e
himself to be in love, should forfeit his life — he
agrees likewise to resign the crown, if his own heart
should be conquered by a woman — Virtusus, the son
of the King of Pachynus, is in love with Thesbia —
Fidelio, the son of the King of Pelorus, is in love
with Constantina — Constantina and Thesbia are
condemned to die for being in love — Thesbia is dis-
guised as a boy — Bermudo expresses a love for
Thesbia — Charastus reclaims his crown — Bermudo
pleads that Thesbia is a boy — she discovers hersdf—
Charastus turns out not to be the rightful King of
LelybsBus — he resigns the crown to Desdonella — she
marries Bermudo — the other lovers are united — the
plot of this piece is romantic to the last degree — on
the whole it is not a bad play — * but greatly too long
— Kirkman attributes it to Peaps — the author is very
loyal — he says that if a King should command the
lives of his subjects, it would be impiety to contra*
diet him ~ that Kings are earth's Gods, and that
their deities must not be pro|riiMied, &c«
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Loyal Lovers— diis T. C. was written by Major
Manacbe_it was printed in 1652— some of the inci-
dents in the last act are improbable, bnt on the whole
this is a good play, particolarly in the comic part of it-«
Adrastos and Letesia fall mutually in loye — they
elope together and mean to take shelter in a sea-pmiL-
bot Rogastus, the Lieutenant of the GarriscHi, refuses
them admittance as they have no passport-^a quar*
rel ensues and Rogastus is severely wounded — Adras-
tus is put into prison, and Letesia is separately con-
fined— they make their escape by the assistance of
their fiiends, Albinus and Clarathea, with whom they
change clothes— Albinus and Clarathea are on the
point of being executed, but their lives are saved at
the intercession of a Stranger, who had just rescued
the Govemour from pirates — the Stranger tarns
out to be the lover of Clarathea, who was supposed
to be dead — ^Rogastus is said to be out of danger-^
the tragic part of this play does nirt begin till the
dose of the 4th act — the author professes to lay the
scene (chiefly) at Amsterdam, but in reality he
means to represent London in the year 165£ the
Loyal Lovers and their friends are Royalists— the
abators of the existing government are revues and
rascals of one description or another-— this is the
play in which Hugh Peters is exposed-^see voL 1 p«
16 — Mettle is servant to Adrastus — Symphronio is
Us fiie&d — in the Ist act. Mettle overhears Sodom,
who is one oi the Synod, make an assignation with
a common strumpet, called Riggle — be tells his mas*
tar — tiie gentlemen, with the assistance of R^le,
make Sodom drunk, and toss him in a blanket.
Bastard 165S — the language of this T. is fre*
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124 OLD PLATS.
quently onnatoral^ bat on the whole it is a good play
— the plot is complicated, bat well managed— Gas-
par, the Bastard, is a consummate villain, who makes
great pretensions to honesty— he gains the confidence
of many of the principal characters, and uses it for
his own purposes — his main object is to marry Mari-
ana— Alonzo had contracted his daughter, Mariana,
to Balthazar — she falls in love with Chaves — Baltha-
zar suspects her of incontinence— her father is fully
sensible that she has had a gallant in her chamber,
but cannot make her own who it was — he offers his
daughter to Picarro — Picarro, not knowing what had
happened, is glad to marry her— on the wedding
night she prevails on her maid, Catalina, to supply
her place — Picarro by threats extorts the truth from
Catalina — he fights with Balthazar and kills him —
Balthazar in his last moments protests that Chaves,
and not himself, was Mariana's paramour — ^in the
underplot, Alonzo gives his ward, Yarina, to a foolish
gentleman, called Preepontio — she is in love widi
Boderiguez — ^Roderiguez and Chaves kill Prsepontio,
and carry away Yarina — Eugenia the sister of Rode'
riguez had been seduced by Chaves and deserted by
him — she meditates revenge— in the last scene. Gas-
par enters with the assassins whom he had hired —
they kill Chaves and Roderiguez— Eugenia kills her«
self— Yarina, on finding Roderiguez dead, swoons
and dies— the assassins stab Picarro — Mariana re-
jects Caspar's addresses with scorn, and is killed by
him — Caspar's viUany is detected — he stabs Alonzo,
and then himself— at the conclusion 8 of the princi-
pal characters lie dead on the stage — ^in the 5th act,
the author has borrowed several speeches firom
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OtD PLAYS. 125
Romeo and Juliet and from Richard the 8d — as also
17 lines from Henry 6th part 2d — when Chaves
cannot draw his sword, we are strongly reminded of
Sir Giles Overreach ^the Frologae sajrs —
<< Translation is no crime, we here impresse
<< A Spanish Bastard in an English dresse/'
See Langbaine— the Editor of the B. D. tells us
that Coxeter attributes this play to Manuche— it does
not appear upon what grounds — the internal evidence
is strongly against the supposition — in the Bastard
there are such repeated allusions to the Heathen
Mythology, that one is disgusted with them— in the
Loyal Lovers there is nothing of that sort— both the
plays were published in the same year, but by diffe-
rent booksellers — Manuche was conscious that the
Loyal Lovers must give offence to the existing go<*
vemment, yet he put his name in the titlepage — the
Bastard is inoffensive, yet the name of the author is
suppressed.
The Queen, or the Excellency of her Sex — A1-
phonso had rebelled against the Queen of Arragon —
seemingly for no reason, but because she was a
woman— he is defeated and taken prisoner by Velas-
CO, the Queen's General— just as Alphonso is on the
point of being beheaded, the Queen pardons him,
and makes him her husband — Alphonso requests that
for 7 days she would allow him to live as a married
bachelor without coming or sending to him — at the
expiration of about a month she visits him — he tells
her that he hates all her sex, and herself in particular
— Muretto makes Alphonso suspect the Queen of an
intimacy with Petruchi, taking care at the same time
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126 OLD PLAYS.
to enlarge so much on her beauty and other perfec*
tioii8» that Alphonso, in the 4th act, is become insen-
mbly in love with her — in the mean time he sends
Petruchi to prison — and allows the Queen a month
to find a champion, who will fight with him in sup-
port of her honour — he declares that she shall lose
her head, if no champion should appear — ^the Queen
forbids her lords on their allegiance to fight with the
King — they proclaim a large reward for any cham-
pion who will appear in the Queen's defence In
the underplot, Velasco is in love with Salassa — he
takes an oath to perform whatever she shall enjoin him
— she insists that whatever provocation he may receive,
he should not fight with any person for two years —
Velasco, in consequence of his oath, su£fers himself
to be beaten and kicked — Salassa undertakes to find
a champion for the Queen, not doubting but that
Velasco, on her absolving of him from his oath,
would engage to defend the Queen's innocence — ^he
refuses — and Salassa is condemned to lose her head,
for failing in her promise— just as the executioner
is about to strike, Velasco comes forward as the
Queen's champion, protesting at the same time that
he will have no farther connexion with Salassa —
Alphonso enters armed — the Queen does her utmost
to dissuade Velasco from fighting with the King-
he persists — Petruchi enters as a second champion
for the Queen— and IMuretto as a third — Muretto
adknowledges that all he had done against the Queen
was a stratagem to make Alphonso in love with her—
Alphonso is convinced of her innocence, and entreats
her pard<m— the Queen readily grants it, and thanks
Muretto for his contrivance — Velasco is reconciled
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to Salassa— — 4hi8 is on the ^ole a very good play
— ^tbe plot is highly improbable, but it is condacted
with great skill — it is not known who was the author
of this play — it was found by a person of quality,
and given to Alexander Goughe, the actor— he pub-
lished it in 1653.
Nuptials of Peleus and Thetis 1654 — Peleus,
King of Thessaly, is in love with Thetis — ^so is Ju-
piter— ^Peleus, by the advice of Chiron, goes to Mount
Caucasus to consult Prometheus— Jupiter is told that
the Oracle had decreed, that the son of Thetis
should be greater than his fether— he makes his
love yield to his ambition — in the last scene, Pro-
metheus is set at liberty — and Peleus is united to
Thetis — ^this Mask, in 3 acts, was translated from
the French by Howel— it had been lately acted at
Paris 6 times~the actors were, the King of France,
and other persons of high rank — the Duke of York
acted a fisherman, and his sister, the Muse Erato —
to the Mask is added a translation of the Italian
piece from which the French Mask was taken.
Combat of Love and Friendship— -the author of
this C. was Mead of Christ Church Oxford— it had
been acted by the Gentlemen of that College, but
was not ]mnted till 1654, after Mead's death— the
dialogue is well written, and on the whole this is
not a bad play — the &ult of it is, that some of the
principal characters do not act in a natural manner
— Lysander is in love with Artemcme, the sister of
his particular friend Theocles— Theodes is in love
with Ethusa, who is determined to reject his addresses
till her sister Panareta shall wish her to accept them
— Panareta is in love with L3rsander, and denies all
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128 OLD PLATS.
assistance to Theocles, unless he will use his influ-
ence with Lysander in her favour-^Lysander re-
quests Artemone to permit him to feign affection for
Panareta, solely with a view of promoting the in-
terest of her brother — she reluctantly consents —
Lysander falls really in love with Panareta— Theo-
cles marries Ethusa, and Artemone gives her hand
to Philonax— Ethusa has two suitors a Captain and
a Poet — she enjoins the Captain to turn Poet, and
the Poet to turn soldier — this produces a tolerably
good comic scene — the greater part of the play is
serious.
Cunning Lovers — ^an intended match between
Prospero, the son of the Duke of Verona, and
Valentia, the daughter of the Duke of Mantua, is
broken off — Prospero obtains his fether's permission
to travel—he is accompanied by his cousin, Monte-
celso — they go to Mantua, it being Prosperous wish
to see Valentia— Prospero saves the Duke of Man-
tua's life — the Duke determines to build a tower
for his daughter, so as to exclude her suitors
from all access to her — Prospero recommends
Montecelso to the Duke as an architect— Mon-
tecelso recommends the Duke to build a lodge
dose to the tower, for Prospero, that he may guard
Valentia from without — a secret door is contrived
through the wall which separates the lodge from
Valentia's apartment — the Duke is in love with a
Dutchess — she is placed in the tower as a companion
to Valentia — Prospero and Montecelso visit the ladies
through the private door, and gain their affections —
the Duke is told that Prospero and Montecelso are to
be with Valentia and the Dutchess at midnight— he
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OLD PLAYS. 1S9
Soe8 to the tower — Prospero and Monteceko, on
hearing a noise, make their escape — the ladies pre-
tend to be asleep when the Dake enters — the Duke
16 invited by Prospero to a banquet— he finds Valen-
tia disguised as a Spanish Lady — he is struck with
the likeness between the Spanish Lady and his daugh*
ter — ^he goes to the tower where he sees Valentia in
her proper dress— he returns to the lodge, where he
sees the Spanish Lady, apparently just as he left
her — this is easily effected, as Valentia has only to
go through the private passage— whereas the Duke
has 12 doors fone within another) to unlock, before
he can get to Valentia^s apartment— Montecelso pre-
tends to drown himself— the Dutohess is so grieved
for his loss that she nearly loses her senses —Monte-
celso next pretends to be a conjuror — the Duke pro-
mises to grant him whatever he shall ask, if he can
care the Dutohess— Montecelso discovers himself to
her— she recovers — ^he claims her for his wife, ac«
cording to the Duke's promise — in the mean time,
Prospero had married the supposed Spanish Lady.,
the Duke himself giving her to him — all ends to the
satisfaction of the lovers the plot of this C. is
rather improbable, but on the whole it is a very
good play— it had been acted at the private house in
D. L., but it was not printed till 1654— Alexander
firome, who wrote this play, is the person who
published two vols, of Richard Brome's plays.
Imperiale T. by Sir Ralph Freeman 1655— Impe.
riale and Spinola, Noblemen of Grenoa, were ancient
enemies but had been lately reconciled— Spinola,
suspecting that Imperiale still retained his enmity,
hires a Bravo to kill him— Sango, Spinola's slave,
VOL. Z. K
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having accidentally discovered this, reveals it to
JMolosso, Imperiale's slave, whom he knew to be
desirous of revenging himself on his master, for
some severe punishment he had received — Molosso,
in order to ingratiate himself with his master, and
thereby work greater mischief, not only reveals the
plot to him, but by a stratagem causes the Bravo
to murder Spinola's son, whom he mistakes for
Imperiale — Molosso and Sango ravish and murder
Imperiale's wife and daughter— and then kill each
other — Imperiale pulls out his own eyes — and Doria,
who was to have been married to his daughter, de-
termines to starve himself to death — this play on
the whole has very considerable merit — it seems
never to have been acted, and it is not well calcu-
lated for representation.
The Twins— Gratiano and Fulvio are Twins,
and exactly alike— Charmia, the wife of Gratiano,
falls in love with Fulvio— she blames herself for this,
but cannot get the better of her passion — Fulvio
tells his brother of Charmia's love for him — Gratiano
visits Charmia in Fulvio's clothes — after Charmia
has gratified her inclination, she reproaches her-
self, as guilty of incest and adultery — Gratiano ex-
plains to her what had happened — and forgives her
— Carolo is in love with Julietta, and Alphonso with
Clarinda — Carolo and Alphonso become jealous of
one another — they fight, and Alphonso is supposed
to be killed — Alphonso assumes a disguise — Carolo
conceals himself in a wood — in the last act Alphonso
throws off his disguise — which sets a]l to rights — the
scene lies partly in Milan, and partly in a wood —
this is not a bad play, but the main plot is improba-
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OLD PLAYS. 131
lie — ^it seems reiy unnatural, that Charmia should
fidl desperately in love with a man who is so like
her husband, that they can only be distinguished by
their clothes— this Tragi^Comedy was written by
Rider — it was printed in 1655, and had been acted
at Salisbury Court.
Hectors, or the False Challenge — this play, by an
anonymous author, was written in 1655, and printed
in 1656 — some parts of it are a little dull, but on
the whole it is a good C. — Mrs. Lovewit sends a
challenge to Welbred in KnowelPs name — Welbred
is wounded by the Hectors, and Knowell is taken
up on suspicion —this gives the Sd title to the play
— Justice Quorum marries Mrs. Pate, supposing her
to be a rich widow — after the marriage, he is made
to believe that she is ^< as common as the stairs that
« mount the CapitoP — he restores to Hadland the
mortgage of his estate, on condition that Hadland
will divorce him from his wife— a similar incident is
introduced in other plays, but no where managed
with so much fun as in this.
False Favourite Disgraced, and the Reward of
Loyally 1657 — ^the scene lies in Florence — Hippolito,
the Dukes Favourite, is a great hypocrite — Pausanio
had been banished by his artilSces, yet he intercedes
with the Duke for him, and gets Martiano, Pausa-
nio's son, to succeed his father as general— the Duke
&Ub in love with Lucebella, Pausanio's daughter —
Hippolito tells Martiano that the Duke means to se-
duce her — this is utterly false — Martiano wishes to
be revenged on the Duke, and for that purpose ap-
plies to Sicanio, Prince of Sicily— Hippolito makes
love to Lucebella— Honorio tells the Duke that Hip-
K 2
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132 OLD PLAYS.
polito is a traitor— the Dake assumes the disguise of
a friar — Sicanio and Martiano get possession of Flo-
rence— ^they profess to have no other object in view
but the restoration of Pausanio— the supposed friar
gives Hippolito a parchment, by which he is appointed
govemour of Florence — he affects to receive the ap-
pointment with reluctance — but he is really so pleased
with it, that he determines to secure the perma-
nency of his power by having the Duke murdered—
Hippolito confesses his sins to the supposed friar— he
is afterwards sorry for having put himself into the
friar's power — he employs Fumante to murder the
friar — Hippolito invites Sicanio, Martiano, &c* to a
banquet, with a design to poison them — the Duke
enters in his proper character — by his order Hippo-
lito is arrested for high treason — Hippolito believes
the friar to be dead, and protests his innocence— the
Duke makes his exit, and soon after enters as the
friar — Hippolito has no longer any plea, but he insists
that according to law the friar must be burnt for
having revealed the secrets of confession-^the Duke
throws off his disguise — Hippolito is carried to pri-
son— Pausanio arrives— he and the Duke are recon-
ciled— Pausanio is so loyal, that he wishes to have his
son punished for having taken up arms against the
Duke, tho' it was for his father's sake —this is bor-
rowed from Fletcher's Loyal Subject—the Duke's
disguise as a friar is taken from Measure for Mea-
sure— at the conclusion, Hippolito is pardoned at the
request of Pausanio— the Duke and Sicanio marry
Lucebella and Julia — there is an important comic
underplot— this T. C. is attributed to D'Ouvilly— it
as never acted«-the comic and serious parts of it
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OLD PLAYS. 133
are both of them good — ^bat some of the incidents in
the last act might have been omitted to advantage —
particalarly the character of Sebastiano — the author
of this play has a strange propensity to coin new
\irords from the Latin — thus we have (p. 110) votes
for VOWS9 or prayers-
Obstinate Lady 1 657— this is an indifferent C, or
rather play, by Sir Aston Cokain — Lucora seems ob-
stinately determined not to marry — she perseveres
in rejecting Carionil — he raises a report of his death,
and re-appears as an Ethiopian — ^Lucora immediately
falls in love, and is on the point of eloping with him
— Carionil, having reflected on the strangeness of her
disposition, comes to a sudden resolution of rejecting
her in his tarn — ^at the conclusion of the play he
marries Cleanthe, who had followed him as his Page
— Langbaine properly observes, that the characters
of Carionil and Lucora bear a strong resemblance to
those of the Prince of Tarent and Almira in the Very
Woman — the plot of both these plays is improbable,
but Massinger manages it much better than Cokain
— Cokain has an important underplot — Polydacre
had promised his wife, Rosinda, that he would never
marry again, if he should survive her — she had pre-
tended to drown herself, and had assumed the dress
of a man — Phylander, the son of Polydacre and Ro-
sinda, is in love with Antiphila— she promises to
marry him, if her intended marriage with his father
should not take place— Rosinda discovers herself,
and Antiphila marries Phylander — the scene lies in
London, which does not at all suit with the names
of the characters — Langbaine tells us that the edi-
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134 OLD PLAYS.
tion of 1658 is much more correct than that of 1657
—the Prologue says —
" If perAimM Wantons do for eighteen pence,
" Expect an Angel, and alone go hence ;
" We shall be glad with all our hearts," &c.
Love and War by Meriton 1658— this is so wretched
a T. that it is no small tax on one's patience to wade
through the 5 long acts of which it consists — Aber-
den king of Bruzantia, in the 3d act, makes war on
Celerinofi king of Numeria, and forces him to pay
tribute — in the last act, Celerinus and his army
come upon Aberden and his friends by surprise —
they kill them and subdue Bruzantia — most of the
principal persons die — one of the characters speaks
of an Irishman — another tells us that Julius Caesar
conquered Troy —and a third observes that they have
greater happiness than the ancient Romans had by
any Pope — the play seems never to have been acted.
The Unhappy Fair Irene 1658 — the scene lies at
Hadrianople^ soon after the sacking of Constanti-
nople—Irene is taken prisoner by a common soldier
— she is rescued from him by a Captain, who pre-
sents her to Mahomet, the Emperour of the Turks
— Pffiologus, a Grecian nobleman, and Irene are mu«
tually in love — he obtains an interview with her — he
pretends to be her brother — his friend Demosthenes
suggests a plan for her escape on the return of
FsBologus and himself from Hungary, whither they
are going— the Emperour falls in love with Irene,
and offers to marry ber-^she gives him &ir words,
but does her utmost to procrastinate matters — Ma-
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homet neglects all military operations for the sake
of Irene's company — the Bashaw of Natolia remon-
strates with him, and is banished— the Janisaries mu-
tiny— Mahomet kills Irene, to prevent her from being
killed by the Janisaries— Pseolc^us and Demosthenes
return from Hungary — Pseologus, on finding that
Irene is dead, kills himself— Demosthenes does the
same, not choosing to survive his fiiend — Irene
seems to have preserved her chastity inviolate— this
T. was written by Swinhoe— it is a poor play, but
Dot a very bad one — ^it is short, and seems not to
have been acted — some improper expressions occur
—for instance — Demosthenes calls Pasologus *^ bro-
« ther Tim.'*
PLAYS PRINTED, BUT NOT ACTED,
Between 1660 and 1830.
(sons »W OF THBM HAVE BEBN ACTB9.)
Blind Lady 1660— this C, or rather T. C, was
written by Sir Robert Howard—the serious scenes
ttre not bad — ^the comic ones are good— the Blind
Lady is an amorous old woman, who is inclined
to have a 7th husband.
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Heroick Lover, or the Infanta of Spain l66l —
this T. is in rhyme — ^it was written by Geoi^e Cart-
wright — it is a poor play both as to plot and lan-
guage-
Poor Scholar 1662— Nevile, the author of this C,
was Fellow of King's College Cambridge — it is far
from a bad play — the merit of it consists in the dia-
logue, and in the just delineation of the characters —
there is little plot or incident-^the scene lies in the
University — the Poor Scholar is Eugenes Jun, — his
uncle, Eugenes Sen., who is President of a College,
is much prejudiced against his nephew, but without
sufficient reason— in the 4th act he locks him up in
his chamber — Eugenes Jun. makes his escape, and
marries Morphe— they disguise themselves as coun-
try folk, and get Eugenes Sen. to perform the cere-
mony—Eutrapelus and Aphobos marry Eugenia and
Anaiskuntia— Aphobos says to Eugenes Sen. — *' oar
" names are out of the butteries, and our persons
^^ out of your dominions" — the undergraduates of
the present day are not always allowed to take their
names off the boards in order to avoid academical
censures— > these censures however are just on a par
with papal excommunications, very dreadful to those
who fear them, and merely brutafulmina to those who
do not r^ard them — Milton was entered at Cam*
bridge in 16S4 — ^Dr. Johnson supposes him to have
been the last Student in either university that suffered
corporal correction — but Nevile repeatedly mentionB
whipping in the butteries as a punishment inflicted
on undergraduates — Aphobos says — <' had I been
" once in the butteries, they'd have their rods about
" me'' — Eugenes Jun. says to Aphobos — " he would
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" have made thee ride od a barrel, and made you
<' ahow your fat cheeks," &c. — in the last act, Apho*
bos says — " my name is cut oat of the college butte-
<< ries, and I have now no title to the honour of
*< mounting a barreP — a passage in this play makes
it highly probable that it was not written before
1661—
-" Now you rogues quake,
*< And run like London train-bands when the
" Phanatics were in arms."
Pepys says — " Jan. 10th I66I. the Fanatiques
«< have routed all the train-bands that they met
" with."
Love a-la^mode C. by T. S. 1663 — on the whole
this play is a tolerably good one — it was once acted
at Middlesex House— the author in a 2d Prologue
says of his words
<< If some ambiguous are, or bear a sense
<< That on the Ladies have an influence,
** To make them smile or blush ; tell us, I pray,
" Where lies the guilt ? in them, or in the play ?
** Words of themselves are innocent, 'tis your
" Waggish conceits that makes the sense impure :
<< As once I stood behind a ladies back
" When she was reading a religious tract,
" Wherein to occupy themselves, 'twas said,
** In goodness did become a virtuous maid :
<< She laugh'd aloud ; the honest JFrt/er he
" Knew no bad sense in the word occupy.
** No more our Author doth ; 'tis in your brest
** To make a civil or immodest jest."
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Politician Cheated ]663~thi8 C. was written by
Alexander Green — it is on the whole a poor play,
but some parts of the dialogue are written with a
tolerable degree of low humour.
Unfortunate Usurper 1663 — this is a poor T. by
an anonymous author.
Andronicus Commenius (Commenus) 1664— this
T« was written by Wilson, the author of the Cheats
— it has on the whole considerable merit, particu-
larly in the character of Andronicus— for the plot of
this play, and the Unfortunate Usurper, see the con-
dnsion of the 48th Ch. of Gibbon's Roman Empire
— the real adventures of Andronicus were almost as
extraordinary as any thing to be found in Romance
—the plays comprehend the latter part of his life,
and differ but little from the History.
Heraclius, Emperour of the East, translated from
Comeille, by Lodowick Carlell 1664— see the 46th
chapter of Gibbon's Roman Empire-— Gibbon says —
<* when Maurice was murdered, he revealed to the
** soldiers the pious falsehood of a nurse, who pre-
<< sented her own child in the place of a rojral in&nt"
— he observes in a note— *' from this generous at-
** tempt, Comeille has deduced the intricate web of
^< his tragedy of Heraclius, whidi requires more than
<< one representation to be clearly understood, and
** which, after an interval of some years, is said to
** have puzzled the author himself ''—the English play
is written in rhyme — Carlell's translation is not a
good one — for instance, he makes Phocas say —
<* They error me, and I'll them terror g^ve"
which is not English — he improperly retains the
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FreDch expression of Madam — and makes the last
syUable but one of Heraclius short— see L. I F. Feb.
4 1667-
Ormasdes 1664 or 1665 — this is an indifferent
play hj Sir William Killegrew — it is called a T. C.
as no person is killed, bat there are no comick scenes
— the whole is serious.
Prcjectors by Wilson— this C« was licensed Jan.
IS 1664-5 — it is well written, but wants incident
sadly — Sudcdry, the Miser, is an excellent character
—a better character of that description is not to be
found in any play— several of his speeches are trans-
lated from the Aulularia of Plautus— the scene in
the Sd act between the women is founded on Aris-
tophanes— the Projectors are, Sir Gudgeon Credu-
lous— Suckdry — Squeeze and Gotam — their desire
to get rich makes them engage in some ridiculoas
projects, which are suggested by Driver, Jocose^s
servant — Jocose wishes his son Ferdinand to
marry Nancy, Suckdr/s daughter — in order to gain
Sackdry's consent, Ferdinand dresses himself in
mean apparel, and professes to consider thrift as the
greatest virtue — Suckdry, at the catastrophe, is
almost brokenhearted at seeing [Ferdinand and his
diMighter enter handsomely dressed— Jocose declares
that he had in reality no project, but to marry the
widow himself, and to get Nancy for his son — the
Editor of the B. D. says this play met with good
success on the stage — this may be perfectly true, but
be should hafve told us on what ground he makes-
ibe assertion — neither the titlepage of the play, nor
Langbaine, give us any reason to believe it was aided
—the play itself seems badly calculated for repre-
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sentation — the license was certainly for printing, and
not for acting.
Amorous Orontos, or Love in Fashion l665 —
this C. was translated from Corneille by Balteel— it
was reprinted in 1675 as the Amorous Gallant — the
plot is tolerably good — the language is frequently
very bad— the whole is written in rhyme.
Siege of Urbin 1666 — ibis is a tolerable play by
Sir William Killegrew.
St. Cecilie, or the Converted Twins — this is a re-
ligious play — it was written by E. M., and published
by Medboume the actor — Langbaine says in I667—
my copy wants the titlepage Valerian and Ti-
burtius are Twins and Noblemen of Rome — they
are both in love with Cecilie — she is famous for
singing and playing on the organ — by the importu-
nity of her parents she is prevailed on to marry Va-
lerian, but she warns him not to enter her chamber —
" Where a champion by her side
'^ Stands to guard her as his bride/'
She means an Angel who is one of the D. P. —
Valerian and Tiburtius by her persuasion are con-
verted to Christianity — in the last act they are sen-
tenced by a Pagan judge to be beheaded — Cecilie
herself is put into a dry bath beset with fagots — but
the flames keep at a distance from her — the Heads-
man strikes at her neck three times, and thinks be
has cut it through— but she enters alive, and declares
that heaven at her prayers had spared her for three
days, that she might convert her parents — she does
thisy and takes leave of her servants — with this the
play ends — Devils having previously appeared with
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I
the wicked characters led in chains — and Angels
with Valerian^ Tiburtius, Scc.^ crowned — this is on
the whole a good play, bat it would have been mach
better if the author had not introduced so many
miracles — he probably found all of them in some
L^endary story of St. Cecilie — ^Wheatley tells us
that CsBcilia was a Roman Lady — who was thrown
into a furnace of boiling water — or as others say,
was stifled by shutting out the air of a bath — she
lived in 225 — Nov. 22 is dedicated to her memory^
The Tragedy of Ovid by Sir Aston Cokain l669
—scene Tomos— this is on the whole a good play —
Uie character of Ovid is well supported as far as it
goes, but it is a part of no great importance — in the
last scene he receives some bad news from Rome,
and dies of a broken heart — the great fault of this
play is, that such of the inhabitants of Tomos as are
persons of the Drama, are so far from being rude and
barbarous, that in the 1st act, there is a r^;ular
masque at the wedding of Bassanes and Clorina —
Pjrrontus is desperately in love with Clorina, and
gets into her chamber — Bassanes finds him there,
and kills him — he then confines Clorina in a chair,
and places the heart of Pyrontus in her hand — she
dies of grief having been most unjustly suspected of
adultery — PhcBbianus, the younger brother of Py-
rontus, kills Bassanes — a considerable part of this
play is comic — Capt. Hannibal invites the dead body
of a man who is hanged, to supper— the spectre comes
and invites Hannibal in return— a masque of Furies,
&e. is introduced, at the end of which the Furies
carry off Hannibal — Langbaine supposes that this is
borrowed from the Italian play called H Atheisto
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Fulminato, and observes that the catastrophe of the
Libertine is built on it — Hannibal's servant, Cacala,
is a good comic character — Jacomo in the Libei'tioe
has a considerable resemblance to him ^for the
oaose of Ovid's banishment, see Dryden's preface to
Ovid's Epistles.
H«ro and Leander by Sir Robert Stapylton 1669
— this is an indifferent T. chiefly in rhyme — it is
founded on the poem of Mussbus, which consists of
338 lines — ^the original story being very simple, Sta-
pylton was obliged to make large additions to it, in
ordw to form 5 acts — ^he has not been happy in these
additions — he makes Muscens one of his D. P.
Pragmatical Jesuit New-levenM — no date — this
piece has nothing to do with the stage, except that
it is divided into scenes and acts — ^it is very dull--
the drift of it is to expose the Jesuits.
Sampson Agonistes I67O or I67I — this dramatic
poem was written by Milton, in imitation of the
Greek Tragedies.
Horace I67I — Cotton, who made this translation
of Comeille's T., is better known as the author of
Virgil Travestie — ^his play is in rhyme — it seems a
good translation — he has added a song and a chorus
at the end of each act — tiiey are not badly written,
but such appendages to a Drama only hang as a
dead weight on it — Cotton finished his Horace in
1665, but it was not made public, either on the
stage, or from the press, till I671 — Cotton should
have restored the Roman name, and have called
his play Horatius, as Sir William Lower has done
-—instead of which he calls Curiatius, Curiace — and
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Horatias — sometinies Horace, and sometimeB Ho-
ratio.
Qaerer por solo Qaerer ; To Love only for Love
Bake 1671 — this Dramatick Romance was repre-
sented at Aranjaez before the King and Qaeen of
Spain — ^it was written in Spanish in 1623 — and para-
phrased in English in 1 654 by Sir Richard Fanshaw,
bat not printed till I67I — ^it consists of 3 acts only,
bat it is of an enormous length — it is written in
rh]rme.
In 1674 Wright published a small volume con-
taining 2 pieces, both of them in rhyme.
1. Thyestes translated from Seneca — see Thy-
estes by Crowne, T. R. I68I.
2. Mock Thyestes — this piece is considerably
shorter than the other, but still too long — it would
have been better to have omitted the choruses — it
is written with a tolerable degree of humour — Thy-
estes, instead of returning with his three children,
returns with three favourite cats in a bag — Atreus
dresses them for his brother's dinner.
The Traitor to Himself, or Man's Heart his great-
est Enemy 1678 — this Moral Interlude is in rhjrme
— it was expressly written for schoolboys, and is
well calculated for their capacity.
Excommunicated Prince, or the False Relique, a
Tragedy as it was acted by his Holiness' Servants
—Being the Popish Plot in a play — by Capt. Wil-
liam Bedloe — 1679 — Langbaine says — **I was very
** desirous to read this piece for the sake of the title-
*'page, and came to it with great expectations,
** but found them altc^ether frustrated, and only a
** Btory, which I had formerly read in Heylin's Geo-
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** graphy, described in if* — it appears from Bedloe's
life, that the stationer (supposing that under that
pretence the play would vend much better) added
these words to the titlepage (beinff the Popish Plot
in a play) without the author's consent or know-
ledge. (Langbaine.)
This play was written by Bedloe, who was with so
much reason suspected of perjury in the business of
the Popish plot — and who would probably have
shared the fate of Oates, if he had lived till the reign
of James the 2d — the play is a bad one, but not alto-
gether destitute of merit — it is written chiefly in *
rhyme — there is no direct resemblance between this
T. and the Popish plot, but the whole of it is a satire
on the church and doctrines of Rome — the
principal character, Polidorus, is thus described in
the D. P. — " General of the prince's forces,
*< who, by the instigation of the Pope, conspires
« the prince's death, and the subversion of the
" Grecian religion ; for the better carrying on of
<* this design, he insinuates himself into the favour
<' and good opinion of the prince, pretending to be
'^ of the Grecian Church, tho' really he is of none at
« all" — Ceteba the Queen Mother intrigues with
Polidorus and joins the conspiracy against her son-
she is taken prisoner by the Persians, and dies a
martyr for her religion — her body is embalmed and
kept by the Persians in hopes of a ransom — but the
Papists pretend to be in possession of it, and that it
works miracles— the Popish conspiracy for dethron-
ing and m,urdering the prince is discovered, and the
persons concerned in it are punished— scene Georgia
——In the 1st act the sentence of ExcommunicatioD»
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denounced by Pope Paul the fifth against Teimura-
zez Prince of Georgia, is read at full length — ^it is
dated I6l4— in the Sd act there is a good song— the
last verse is —
** 'Tis the Arabian bird alone
** Lives chast, because there is but one :
'< But had nature made them two,
" They would like Doves, and Sparrows, doe."
The Prolc^ue concludes thus —
" So th* Sexton swore his clock did never lye,
" What e're the sun said to the contrary."
Noah's Flood, or the History of the General De-
loge, an Opera, being the Sequel to Dryden's Fall of
Man— this piece is attributed to Ecclestone— the first
edition is said to have been printed in 1679— there
18 another edition in 1714 — see B. D. — the D.P., be-
sides Noah and his family are good and bad Angels,
Sin, Death, &c. — the Opera concludes with the de«
straotion of the Tower of Babel — it is written in
rhyme — it is not without some degree of merit, but
the fewer pieces we have of this sort, the better.
Youth's Comedy, a dramatic poem by T. S. 1680
—this is a religious poem consisting of several dia-
logues— some of which are between the Soul and
the Body — it is not badly written — but the author
has, with peculiar impropriety, called his work a dra-
matic poem, tho' it is utterly void of action — and a
Comedy, tho' there is nothing in it comic, except a
contemptible Antithesis— <-
** They are the mean ones that do meanly choose,
" That can for Paris Paradise refuse/*
VOL. X L
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Muse of Newmarket 1680 — Langbaine says —
<' All these 3 Drolls are stolen (as I remember) from
<< plays, but not having them by me, I cannot tell the
" particulars/'
1. Merry Milkmaid of Islington, or the Rambling
Gallants Defeated— see D. L. May 2 1746.
2. Love lost in the Dark, or the Drunken Couple
—nearly the whole of this F. is stolen from Massin-
ger — the bulk of it is from the Guardian — some
parts of it are from a Very Woman, and the Bashful
Lover.
3. Politick Whore, or the Conceited Cuckold —
this Droll is stolen, almost verbatim, from the City
Night Cap — see the 9th vol. of Dodsley's Old Plays
1744.
Rome's Follies, or the Amorous Fryars was print-
ed in 1681 — the serious part is dull — the comic part
is well written, but neither of them contains a very
formidable attack on the Church of Rome.
The famous John Hales has a very happy obser-
vation on Auricular Confession — " Pliny somewhere
<< tells us, that he who is stricken by a scorpion, if
<< he go immediately, and whisper it into the ear of
<< an Ass, shall find himself immediately eased — that
<< Sin is a scorpion and bites deadly, I have always
<< believed, but that to cure the bite of it, it was a
** sovereign remedy to whisper it into the ear of a
^* Priest, I do as well believe, as I do that of Pliny."
The last Editor of the B. D. has noticed a dia-
logue called << John Bon and Mast Person," which
had been lately reprinted, but which has not the most
remote connexion with the stage — ^it is merely a short
dialogue against Transnbstantiation — ^it is a severe
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satire and must have bad great weight at the time —
it 18 said to have been printed in 1548.
The Parson says —
" Yea John, and then with words holy and good
" Even by and by we turn the wine to blood.**
John replies— <-
•* Who would have thought it,
" That ye could so soon from wine to blood have
brought it ?
** And yet except your mouth be better tasted
than mine,
** I cannot feel it other, but that it should be
wine
• • 4( • 4( • •
^* Perchance ye have drunk blood ofter than ever
did I.'*
Sacrifice 1686---this T. was written by Sir Francis
Faoe — the characters are — Tamerlane — Bajazet—
Axalla, &a — this is a poor play — ^it abounds with
improper expressions, such as Dutch Devil, &c.«-«
some passages are so absurd as to set burlesque at
defiance— Tamerlane, as he is here represented, is
a most unnatural character — Fane» tho' certainly no
Whig, is so uncourtly as to make Tamerlane remark
that *< Princes for the most part keep the worst
" company.^
The Revolter, a Trage- Comedy acted between the
Hind and Panther, and Religio Laici^ &c., was
printed in I687— this Trage-Comedy is so far from
baviog any thing to do with the stage, that it is not
even in dialc^ue— the author easily proves that Dryden
L 2
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has contradicted himself, but the pamphlet is not
written with either spirit or humour.
Benefice — this C is far from a bad one — it was
printed in ] 689) but written many years befora that
time — it is attributed to Dr. Wild, who is said to have
been a leading man among the Presbyterians -^ but
there is nothing in his play, at which any respectable
Clergyman of the established Church need Uke of-
fence— it is rather a Dramatic Satire than a regular
Comedy, and was evidently never intended for repre-
sentation— the plot is simply this — Marchurch is Pa-
tron of the Benefice, which becomes vacant — he is de-
termined not to dispose of it to any person, who will
not pay him for it— Sir Homily obtains the present-
ation by a stratagem — the 1st act is an introduction
to the other four — Invention and Furor Poeticus cri-
ticize Shakspeare, Ben Jonson, &c. — Ceres appears
above — and after some little persuasion, consents to
have her temple (a bam) turned into a playhouse.
In the Rival Friends 1632, Sacriledge Hooke is
patron of a benefice — 6 or 7 persons are suitors to his
daughter, Ursely, with a view to get the living by
what is called Smock Simony — in Dr. Wild*8 play,
IMarchurch sells the benefice to Hob, and is in hopes
of getting him to marry his servant, Ursely, who is
with child by Marchurch-^ — the Rival Friends is
preceded by an introduction, and there is such a re-
semblance between the two plays, that in all proba-
bility Dr. Wild had read the Rival Friends— he has
not however borrowed more than the foundation of
his Comedy.
Folly of Priestcraft C. by an anonymous author
1690— some parts of this play are well written, but
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it does not deserve the great praises which Langbaine
bestows on it — it is merely a Satire on the follow-
ers of the Church of Rome divided into scenes and
acts — as a Drama it has but little merit — in the 3d
act, one of the Priests goes to a coffeehouse in a gown
and cassock — he affects to be con veiled to Popery
by another Priest, who is disguised as a Carpenter.
A much better trick was really played by a Jesuit
in 1656 — Dr. Hammond was in a bookseller's shop
reading St Ambrose — a red coat looked over his
shoulder, and read the Latin— which made the Doctor
to admire, and ask him how he came by that science
—the red coat replied—" By the Holy Spirit"— the
Doctor resolved to try him farther — and so called for
a Greek author, a Hebrew bible and several other
books, in all which this red coat was very expert — at
last the Doctor, recollecting himself, asked for a
Welch bible, and said — " if thou beest inspired read
** this book, and construe it*'— but the red coat being
at last catched, replied " I will not satisfy thee far-
** ther, for thou wilt not believe though an angel came
^'firom heaven" — the Doctor sent for a constable, and
had the red coat brought before Oliver Cromwell —
his chamber was searched, and a Bull of license to
this impostor, to assume what function or calling
he pleased, was found — this, with other papers, was
brought to Cromwell— yet, for what reasons it is un-
known, the red coat escaped with being only banished
—he is supposed to have brought proofs of his having
been of great service on some other occasions.
( Wordsworth Vol. 5. p. S70 note.)
Contented Cuckold, or Woman's Advocate by
Reuben Bourne 169?— scene Edmonton — this C. has
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no gross iault, but it is insipid from beginning to end
— ^tbere is no plot — and not any incident worth notice
— Sir Peter Lovejoy is the Contented Cuckold and
Wotnan's Advocate — in the 5th act, he contends that
an unicorn or phoenix may as soon be found as a
cuckold.
Siege and Surrender of Mons, a Tragi-Comedy
exposing the villany of the Priests, and the intrigues
of the French 169 1 — this piece consists of 3 short
acts — it is written by an anonymous author who
seems to have faithfully represented the events of the
Siege, but without much dramatic skill — the serious
scenes are poorly written — the comic ones have some
degree of low humour the Editors of the B. D.
state the Siege as having taken place in l641 — if
they had read the play, they would have seen that
Lewis the 14th was one of the D. P. — and " the great
** Nassau was Britain's monarch/'
Sir Charles Sedley died in I70I — an edition of
his works was published in 1 702— it contained 2
pieces which had not been printed before, and which
seem not to have been acted.
!• The Tyrant King of Crete— this is only an
alteration of the Conspiracy, which was written by
Henry Killegrew and printed in 1638— whole pages
are copied verbatim, or with a slight change in the
words — Langbaine says that Killegrew in l65S
printed his play in a more perfect state as Pallantus
and Eudora — Sedley's play, on a comparison, would
perhaps be found more like to Pallantus and Eodora
than to the Conspiracy.
2. The Grumbler— see D- L. April 30 1754.
Hypermnestra, or Love in Tears 1703 —an in-
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different T. by Owen— see Love and Duty L. L F.
Jan. 22 1722.
King Sanl 1703 — on the whole this is not a bad
play— the part of the Witch of Endor is enlai^ed —
it is observable that in the Septuagint the woman is
not called a Witch but a Ventriloquist
In 1701 was printed a C. in 3 acts called <' The
** Stage*Beaax tossed in a Blanket, or Hypocrisy
** AJa^mode ; exposed in a a true picture of Jerry
<' , a pretending scoui^e to the English stage" —
this is called a play because the author has chosen
to divide his composition into acts and scenes^-it is
in fact a mere dialogue without action— the speakers
discuss the merits of Collier's book at full length —
Jeremy Collier himself is introduced as Sir Jerry
Witwoud — the dialogue is well written, but serious
— ^Whincop and his followers attribute this piece to
Tom Brown— if Tom Brown be really the author
of it, it is strange that he, who possessed so happy
a vein of raillery, should not have bestowed some
of it on Collier.
Portsmouth Heiress, or the Generous Refusal
1704 — ^this is on the whole a moderate C. — it was
refused a license through the caprice of the licenser
—the author is unknown.
Lawyer's Fortune, or Love in a Hollow Tree —
this C. was printed in 1705 — it was written by Lord
Grimstone when he was 13 — he afterwards attempted
to buy up the impression — there is an edition in
1728, professedly printed at Rotterdam, but proba-
bly printed in London— at a contested election for
St Albans, the famous Duchess of Marlborough re-
printed this play with the frontispiece of an Elephant
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dancing on a rope— the whole of this play is insipid
to the last degree, it might however have been passed
over without much censure as the production of a
boy, if it had not been for some scenes in a desert
— this desert cannot possibly be supposed to be at
any vast distance from the habitation of Valentine
and the other characters — yet it is infested with wild
beasts, who howl and cross the stage — Major Sly is
said to be seized by a bear.
Solon, or Philosophy no defence against Love, by
Bladen 1705 — some parts of this T, C. are well
written, but on the whole it is far from a good play
— the character of Solon is grossly misrepresented
— ^there are some comic characters.
Injured Love, or the Cruel Husband I707 — ^this
is only Webster's White Devil, altered by Tate.
Love and Liberty 1709— this T. was written by
Charles Johnson — ^it is founded on the Double Mar-
riage of Fletcher (see T. R. 1683)— the 1st act
differs only in the dialogue — in the progress of the
plot, and in the catastrophe, the two plays differ con-
siderably, but Johnson never totally loses sight of
Fletcher — Johnson's is a poor play — the language
in particular is very inferiour to that of the original
— some few lines are borrowed verbatim.
Royal Martyr, or King Charles the Ist by Fyfe
1709 — this is one of the woi'st plays ever written —
the dialogue is in rhyme.
Courtnay Earl of Devonshire, or the Troubles of
the Princess Elizabeth this T. is printed without
a date, and without the name of the author —it is
dedicated to the Duke of Devonshire, Lord High
Steward of her Majesty's Household, &c. — the
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author in his preface says that he wished his play to
be acted at D. L. House, and that a friend of his
put it into the hands of Rich— it is sufficiently clear,
that by her Majesty is meant Queen Anne, as Rich's
theatre was not commonly called D. L. till after the
death of Queen Mary — the play was probably printed
between 1701-2, when Anne became Queen, and
1709> when Rich was debarred from the exercise of
his Patent — in the B. D. the 2d title is mentioned
as the Troubles of Queen Elizabeth — no slight mis-
take, as the play is concluded before Elizabeth is
Queen— this is a very poor piece both as to plot and
language — Courtnay's death is fiction— the love
scenes have some foundation in fact — Gibbon, in
his 6lst chapter, has a digression on the family of
Courtenay.
The Mohocks, a tragi-comical Farce, as it was
acted near the watchhouse in Coveat Garden 1712
— ^this is a moderate piece — attributed to Gay.
Aristomenes, or the Royal Shepherd— this T. is
said to have been written by the Countess of Win-
chelsea, and to have been printed in 1713 — Pausa-
nias, in his Messenica or 4th book relates the history
of Aristomenes at length — love is the chief business
of the play, but the author of it has borrowed several
facts from Pausanias— she has however mixed them
up with so much stuff that her T. is a poor one — if
it had ever been acted, it could not have failed of
exciting much merriment Aristomenes is con-
fined in a dungeon — a machine, like a fox, runs
about the place — Aristomenes lays hold of the fox,
and is led out by him— in the next act, the stage
direction is — << the fox runs over the stage followed
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^< soon after by Aristomenes, his hands foul with
** earth" — Pausanias indeed relates the story of the
fox, but without seeming to give much credit to it.
New Rehearsal, or Bays the Younger 1714— this
little pamphlet is attributed to Gildon--it is divided
into 3 acts— yet it is not a play, but a mere dialogue,
supposed to take place at the Rose Tavern C. G. —
it contains an Examen of 7 of Rowe's plays — the
Editors of the B. D. say, that the New Rehearsal is
written in imitation of the Duke of Buckingham's
Rehearsal — they would hardly have said this, if they
had read the New Rehearsal.
Restauration, or Right will take place 1714 — this
is merely an alterationof Philaster— itwasattribated
to Villiers Duke of Buckingham, but in all proba-
bility, without reason.
Battle of Sedgmoor — this Farce (as it is called)
is also attributed to the Duke — it is a mere dialogue
of 6 pages — it was meant to ridicule the Earl of
Feversham, who was the general of James the 2d,
and a Frenchman.
Esther, or Faith Triumphant 171^— *this is a
sacred T., in 3 acts — it was translated from the
French by Brereton.
Gotham Election by Mrs. Centlivre 1715 — this
Farce contains a good deal of low humour — but it
would have been very improper to have brought it
on the stage, as it is a strong political Satire on the
Tories.
Litigants 1715 — a very good F. in 3 acts, trans-
lated from Racine, by Ozell — it is written in ridicule
of persons who have a rage for Law — and is founded
on the Wasps of Aristophanes, in particular, the trial
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of the Dog 18 taken from that play — Etaeine in his
preface says — ** if the purpose of my C. was to create
*^ laughter, never did C. attain its purpose more effec-
•« tually."
Augustus 1717 — this is only the Ist act of an
intended T. by Biddle— the scene lies in the Court
of Anthony at Alexandria, and in CsBsar's camp be-
fore it — Biddle is so injudicious as to call Octavius
Caosar by the name of Augustus.
Heroick Friendship I719 — ^in L'Estrange's Ob*
servator Nov. 27 I686 it is said—" Whereas Mr.
*^ Thomas Otway, some time before his death, made
** four acts of a play ; whoever can give notice in
*' whose hands the copy lies, either to Mr. Thomas
'' Betterton, or to Mr. William Smith, at the Thea-
" tre Royal, shall be well rewarded for his pains** —
fB. D.J — at that time no one pretended to be pos-
sessed of Otway's Manuscript, but in 1719 J« C. pub-
lished Heroick Friendship as written by Otway — in
the preface he had the efirontery to affirm that any
one of taste might perceive his Genius throi^h the
whde— but this play has never been considered as
really written by Otway, nor has it ever been thought
worthy of representation — the scene lies in Britain
— ^the plot is founded on the story of Damon and
Pythias — Decimus in the Sd act says —
" Yet there's no dallying with our reputation,
" *Tis like the tender plant, which, if but touched,
" Lets fall its lively leaves/*
—these are the best lines in the play, there are others
which would have done Otway no discredit, but oq
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the whole thi8 is a poor piece — it is called a Tragedy
without any sufficient reason.
Fair Circassian 1720 — this is called in the titlepage
a dramatic performance, and in the preface, a transla-
tion of the Song of Solomon — there is nothing in it
dramatic — it is a mere dialogue — written in rhyme,
and divided into 8 Cantos — Dr. Jortin spoke slight-
ingly of the Song of Solomon, as a mere Poem, in
which the name of the Deity is not once mentioned,
and from which little or no religious instruction is
to be derived — Professor Person considered it as a
disgrace to the Canon of Scripture.
D'Urfey in 1721 published an 8vo. volume of
Poems and Plays— the Plays were — the two Queens
of Brentford— the Grecian Heroine— and Ariadne.
<< Two Queens of Brentford, or Bayes no Poet-
** aster, a Musical Farce, or Comical Opera, in 5 acts,
<* being the sequel of the Rehearsal"— -in this piece
an Opera is rehearsed — it contains some good hits,
but on the whole it is rather dull than otherwise.
Grecian Heroine, or the Fate of Tyranny — some
parts of this T. are not badly written, but on the
whole it is a strange play.
Ariadne, or the Triumph of Bacchus — ^this is a
regular Opera, in 3 acts— D'Urfey has managed the
original story very well — he has introduced some
comic characters.
Athaliah (1722 or 24) translated from Racine, by
Duncombe— this is a fine T., but of too serious a
nature to be fit for representation in a theatre.
Prison- Breaker, or the Adventures of John Shep-
pard 1725 — this piece is written with a good deal of
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low hamoor — the conclusion is flat — it appears from
the Proline that Sheppard had been hanged— in
1728 this Farce was brought out (with alterations) at
Bartholemew Fair, as the Quaker's Opera.
Vanelia, or the Amours of the Great, as it is acted
by a private company near St. James's 1732 — this
Op. in 3 acts is founded on the amour between the
Prince of Wales and a Lady of the name of Vane —
of whom Dr. Johnson says—
'< For Vane could tell what ills from beauty
" spring."
Lord Almirus the former lover of Vanelia, Lord
Supple the Prince's pimp, and Lord Haughty, with
perhaps others of the D. P., have the appearance of
being meant for real persons— as a Drama, this piece
is written with spirit, and is consequently superiour
to the generality of Operas — it is likewise less offen-
sive than might have been expected from the nature
of the subject— Prince Alexis and Vanelia are treated
with decency.
Alexis' Paradise, or a Trip to the Garden of Love
at Vauxhall, a Comedy as privately acted by the
Ladies of Honour • • written by James Newton,
Esq.— this is a strange piece — perhaps an old play
with a new catchpenny title.
Humours of the Court, or Modem Gallantry
1732 — ^this Opera, in 3 acts, relates chiefly to Prince
Adonis and Vanessa, but other affairs of gallantry are
introduced.
Mr. Taste, the Poetical Fop — C. by the author of
Vanelia— nodate — probably 1732 — by Mr. Alexander
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Taste is meant Pope, who in 1731 had published a
poem on Tciste.
Intriguing Courtiers, or Modish Gallants 1732
(or 1733) — this Comedy, as it is called, has nothing
to do with the stage, it is merely a vehicle for pub-
lishing to the world the private intrigues of some per^
sons of rank, at the time it was written.
Fate of Corsica, or the Female Politician 1732 —
this C. has considerable merit.
Wanton Countess, or Ten Thousand Pounds for
a Pregnancy, a new Ballad Opera, founded on true
Secret History^ 1733 — this piece, in 3 acts, is not
without fun.
Fortunate Prince, or Marriage at Last 1734— a
contemptible Opera, in 3 acts — it is political, and
founded on the marriage of the Prince of Orange
with one of our Princesses.
Wedding, or the Country Housewife 1734 — an in-
different ballad Opera, in 3 acts.
Bartholomew and other Fairs— from 1734 to 1743
— the Editor of the Theatre, or Dramatic Mirror in
1819 has reprinted some advertisements relative to
the Drolls performed at Bartholomew Fair -^ they
are taken from an old newspaper dated Sep. 5 1734.
At Ryan, Laguerre, Chapman and Hall's Booth—
an excellent new Droll, called Don John, w the
Libertine Destroyed. Don John = Ryan: Jaoomoe
Chapman : Leonoras Miss Mann : — with a ballad'
Opera called the Barren Island, or the Fettieoat
Government. Queen of the Amazons = Mrs. Ro-
berts : Captain of the Ship = Aston : Boatswain =
Hall : Boatswain's Mate : MuUart : Gunner = La-
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guerre : Coxen ^ Penkethman — also, the Farrier
Nick'd, or the Exalted Cuckold. Mercury = La-
guerre : Farrier == Vaughan : his Man = Penketh-
man : Scaramouch =Bencroft: Harlequin = Clark :
Columbine = Miss Mann : Farrier's wife = Mr.
Mullart: Ale-Wife = Mr. Hall: — N, B, Ryan, &c.,
in order to entertain the town with greater variety,
haye been at the expence of causing this entertain-
ment to be made — to begin every day at one o'clock,
and continue till eleven at night — (the same notice
as to the time of performance is added to the other
bills.)
At Hippisley, Bullock and HaUam's Booth —
the true and ancient history of Fair Rosamond.
King Henry = Hale : Queen Eleanor =: Mrs. For-
rester : Cardinal Aquinas = Winstone : Cardinal
Columbus = Ridout : Rosamond = Mrs. Elmy : —
with the Impostor, or the Biter Bit. Vizard, the
Biter = Hippisley : Mixum, the Vintner = Hulett :
Balderdash, the Drawer = Bullock : Trueman =
Berry: Face = Este: Solomon Smack = Master
Hallam : Mrs. Mixum = Mrs. Herle : — this being
the last week of the Fair, Hippisley intends to en-
tertain the company with his Diverting Medley of the
Drunken Man, which he has been so long celebrated
for. {Theatre.)
At Fielding and Oates' Booth, in the Geoi^e Inn
Yard. Don Carlos, Prince of Spain. The Kings
Huddy : Don Carlos = Bardin : Rui Gomez = Rosco :
Queen = Mrs. Lacy: Henrietta = Mrs. Talbott: —
after which a new ballad Opera called the Constant
Lovers, with the comical humours of Mons. Ragout
Springame = Stoppeleer Sen. : Martin = Salway :
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Ragout = Oates : Mactrot = Stoppeleer Jun. : Ver-
min =Wetherhilt: Porter = Lacy « Arabella = Miss
Oates : Silvia = Miss Bincks : Laycock = Mrs. Mar-
tin : Cloe = Mrs. Pritchard : — the passage to the
booth will be commodiously illuminated with several
large moons and lanthorns, for the conveniency of
the company ; and the coaches of persons of quality
may drive up the yard.
At Southwark Fair — the true and ancient history
of Maudlin, the Merchant's daughter of Bristol, and
her constant lover Antonio — with the comical hu-
mours of Roger, Antonio's man. (From my awn
UUs.J
Most of the pieces acted at Bartholomew Fair,
like many of those produced in modern times at
the Minor Theatres, were doubtless never intended
for publication — some few are published.
Unnatural Parents, or the Fair Maid of the West,
with the comical humours of Trusty, her father's
man, and Dame Strikefire, the wicked Witch of
Cornwall. Sir Adam Wealthy (the father) = Spiller :
Lovewell = Hulett : Trusty = Morgan : Dame Strike-
fire = Mr. Harper : Lady Wealthy (the mother) =
Mrs. Bray : Fair Maid of the West = Mrs. Spiller:
Betty Wealthy (the sister) = Mrs. Morgan : — the
Fair Maid is so ill used by her parents that she runs
away — Trusty is sent in quest of her — the Witch
meets him and kisses him — she promises him that
he shall ride home — he enters riding on a distaff,
and flies into the air, with two cats running by his
side — at the conclusion, the Fair Maid marries
Lovewell, and is reconciled to her parents — this
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little piece was acted at Lee's Booth— probably abotU
1720 or 1725— it is printed without a date.
1738. Tottenham Court — at Fielding's and HaU
lam's Great Booth, near the turnpike in Tottenham-
Courty during the time of the Fair, the town will be
diverted with a new Entertainment (never perform'd
before) caird the Mad Lovers, or Sport upon Sport
— with the comical humours of Squire Graygoose
and his man Doodle, my Lady Graygoose, and
Capt AtalL
At Hallam's Great Theatrical Booth, in the
Geoi^e Inn yard, in Smithfield, during the short time
of Bartholomew Fair, the town will be diverted with
that celebrated Burlesque Opera, call'd the Dragon of
Wantley — to be perform'd by the Lilliputian Com-
pany from D. L.
At Penkethman's Great Theatrical Booth, over
against the Hospital-Gate in Smithfield, during the
short time of Bartholomew Fair, the town will be
humorously diverted with a new Entertainment,
call'd the Man's Bewitch'd, or the Devil to do about
Her— the part of Harlequin by Mr. Hays ; Colum-
bine by Mrs. Dove ; Don Furioso by Mr. Bencraft ;
and the character of Di^o, his man by Mr. Pen-
kethmao * * to which will be added, the Country
Wedding, or the Roving Shepherd.
Southwark Fair — at Lee's Great Theatrical
Booth, on the Bowling-Green, Southwark, during
the time of the Fair, which begins to-morrow, the
8th of Sep., the town will be humorously diverted
with Merlin, the British Enchanter, or St Geoif;e
for England — the part of Merlin by Mr. Oldman ;
VOL. X, M
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St. George, Mr. Champion ; and the Spanish Giant
by Seignior Furioso — to which will be added an En-
tertainment, caird the Country Farmer, or Trick
upon Trick— the whole to conclude with the grand
procession of the Lord Mayor's show as it was for-
merly represented with all the pageants and other
decorations.
At the New Wells, near the London Spaw,
Clerkenwell, the diversions will begin this day at 5
o'clock in the afternoon — consisting of a great va-
riety of new humorous songs, serious, and conaic
dances ; together with the grand views of Vauxhall
— and the celebrated Entertainment of that place,
called A Hint to the Theatres, or Merlin in Labour
—with the birth, adventures, execution and resto-
ration of Harlequin — the whole will conclude with
a new whimsical, chymical, pantomimioal amuse-
ment, caird the Sequel — N. B. die first view of
Vauxhall will be opened at 6, and the Entertainment
of Merlin exactly at 7*
1739. Bartholomew Fair — at Bullock's (from
C. G.) Great Theatrical Booth, the largest in the
Fair, during the short time of Bartholomew Fair,
the town will be agreeably diverted with variety of
humorous songs, dances, and extraordinary per-
formances — to which will be added a new Enter-
tainment, caird the Escapes of Harlequin by Sea
and Land, or Columbine made happy at Last — the
part of Harlequin by Waters ; Columbine, Mrs.
Waters, Judge Ballauce, Bullock j the rest of the
parts to the best advantage.
At Hallam's Great Theatrical Booth, over against
the Hospital-Gate in Smithfield, during the short
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time of Bartholomew Fair, the town will be hu-
morously diverted with a new Entertainment, calPd
Harlequin tum'd Philosopher, or the Country Squire
Outwitted — to which will be added, the Sailor's
Wedding, or the Wapping Landlady.
At Hippisle/s, Chapman's, and Legar's Great
Theatrical Booth, in the George Inn Yard, Smith-
field, during the short time of Bartholomew Fair,
the town will be humorously diverted with an excel-
lent Entertainment, call'd the Top of the Tree, or
a Tit Bit foralJice Palate— in which will be intro-
duced the famous dog scene, which was perform'd
for upwards of 60 nights with great applause, in the
Entertainment of Perseus and Andromeda— the part
of Harlequin by Signer Yaterini : Hussar by Hale ;
Columbine, Mrs. Talbot; Petit Maitre, Legar;
Mons. Sham-Shirt the Valet d'Chambre, Chapman:
and the part of the Clown by Hippisley — also that
amazing, surprizing, and astonishing scene of the
Skeleton in the Royal Chace, or Merlin's Cave —
the part of Pierot, by Signer Arthurini^ who haa a
most surprising talent at giimace, and will on this
occasion introduce upwards of 50 whimsical, sorrow-
fol, comical, and diverting faces * * — Yaterini and
Arthurini were Yates and Arthur.
1742. At Fawkes and Pinchbeck's Great The-
atrical Booth, the end of Hosier Lane, West Smith-
field, during the time of Bartholomew Fair, the town
will be humorously diverted by Punch's celebrated
company of comical tragedians from the Hay, who
will perform the Tragedy of Tragedies, being the
most comical, whimsical Tragedy, that was ever
Tragediz'd by any tragical company of comedians^
M 2
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called the Humours of Covent Garden, or the
Covent Garden Tragedy — written by Henry Fielding,
Esq. the part of Lovegirlo by iMrs. Cbarke ; and the
part of Mother Punchbowl by Page — to which will
be added, the Present Tense, call'd the Universal
Monarch defeated, or, the Queen of Hungary Tri-
umphant — the part of the Queen of Hungary by
Miss Goodluck ; the King of F e by Mons.
Monopoly ; the Cardinal, Mons. Schemeall ; Am-
bassador to the Queen by Mr. Goodnews ; and the
part of Tell-truth by Punch • • Boxes 2s — Pit Is.
— Gallery 6d.
At Goodwin's Large Theatrical Booth, opposite
the White Hart in West Smith6eld, near Cow-
Lane, during the short time of Bartholomew Fair,
the town will be entertained with a humorous
Comedy of 3 Acts, call'd the Intriguing Footman,
or the Spaniard Outwitted — with a Pantomime
Entertainment of dancing, between a soldier and a
sailor, a tinker and a taylor, and buxom Joan of
Deptford— to begin each day at 12 o'clock, and end
at 10 at night.
At Turbutt's and Yates' (from Goodman's Fields)
Great Theatrical Booth, formerly Hallam's, opposite
the Hospital Gate in Smithfield, during the short
time of Bartholomew Fair, will be presented a dra-
matic piece, call'd the True and Ancient History
of the Loves of King Edward the 4th, and his ia-
mous Concubine, Jane Shore— containing the reign
and death of King Edward — the distresses and
death of Jane Shore in Shoreditch, the acquisition
of the crown by King Richard the Sd (commonly
call'd crook-back'd Richard,) and many other true
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historical passages — interspersed with the comical
and diverting humours of Sir Anthony Lackbrains,
his man Wezel, and Capt. Blunderbuss — the part
of Sir Anthony Lackbrains by Yates ; King Ed-
ward, Dighton ; King Richard, Taswell ; Jane
Shore, Mrs. Lamball ; Lord Beauford, Holtham ;
Capt Ayres, Naylor ; Shore, Taylor ; Stampwell,
Ray ; Paddington, Spackman ; Flora, Mrs. Yates ;
the part of Wezel by Green ; and the part of Capt.
Blunderbuss by Turbutt.
At Hippisley and Chapman's Great Theatrical
Booth, in the George Inn Yard, Smithfield, during
the short time of Bartholomew Fair, will be pre*
sented a most humorous and diverting droll, calPd
Scaramouch Scapin, or the Old Miser caught in a
Sack — with the comical tricks, shifls, and Cheats of
Scapin's three companions. Trim the Barber, Sly,
and Bully Bounce- About — the part of Scapin by
Hippisley ; Trim the Barber, by Chapman ; Sly,
Bencraft; Bounce- About, Mullart; Gripe the Mi-
ser, Paget ; Octavian, Johnson ; Solomon Smack,
Gray ; Lucia, Miss Thynne ; Medlar, Mrs. Vallois ;
and the part of Loveit the Chambermaid by Mrs.
Mullart
C and Country 1735— Court and Country is
a political pamphlet — at present it seems superla-
tively duU, and it could hardly have been enter-
taining in 1735.
Royal Marriage 1736 — this Opera in 3 acts is a
better play dian the generality of those pieces which
are written without any view to representation —
Sir Joseph Wronghead, a Devonshire gentleman,
comes up to town with his daughter and his man
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Roger, by the iDvitation of Lord Clincher — in the
Sd act, the Prince of Wales, and the PrinceBs of
Saxe-Gotha are discovered in the drawing-room
under a canopy of state — a woman of the town, who
is dressed with false jewels, &c., passes herself on
Sir Joseph as a Duchess — * he goes with her to her
lodgings — a bully pretends to be her husband, and
swindles Sir Joseph out of £2000— Lord Clincher^s
son decoys Sir Joseph's daughter to a house of a
certain description — Sir Joseph forces him to oiarry
her.
LoTe's Revenge, a dramatic Pastoral in 2 Inter-
ludes, written in 1736, and set to IVIusic in 1737 —
this trifle is attributed to Dr. Hoadley — it is not
badly written.
City Farce 1737 — the object of this Farce is to
ridicule the City Militia.
Projectors 1737 — this Comedy seems to have been
die production of some person of sense, who was
little acquainted with the stage.
The Author's Triumph, or the Manager Managed,
was published in I737 — Dramatick offers a play to
a Manager — he rejects it without reading it — Dra-
matick complains to Meccenas — Meccsnas gives the
Manager and the Players a jobation — at the con-
clusion Dramatick marries Clara — this piece in the
titlepage is called a Farce, as it should have been
acted at L. L F. April 14 I7S7.
Inconsolables, or the Contented Cuckold 1738 —
this Farce, in 3 acts, is dull, but it has no particular
fiBiult.
Humours of the Road, or a Ramble to Oxford,
1738--.Rakely, Ramble and Wilding are young gen-
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tlemen and friends— in the 1st act they set off from
an inn in London --they re-enter at an inn on the
road — the scene in the remainder of the play lies at
Chdbrd —Wilding's object in going to Oxford was to
find Lacy with whom he is in love — she and her
sister Roth had been placed under the care of Af onk-
welly who keeps a boarding house— their uncle had
intended to have diem carried off to France, and
confined in a nunnery — they were to have been ccni-
signed to Capt Hammock the master of a trading
vessel— Lucy acquaints Wilding with the plan which
had been contrived against them— Wilding and his
friends go to MonkwelPs house— disguised as Capt
Hammock and his companions — ^they rescue the young
ladies — ^Wilding and Ramble marry Lucy and Ruth -
the real Capt. Hammock and Monkwell pursue the
young ladies, but are themselves taken into custody^ —
Tim who is the hostler of the inn at Oxford, is the
principal character — he has an intrigue with Sally,
the landlad/s daughter— at the end of the 3d act, he
allows Rakely to go to Sally's room at night instead
of himself— Rakely, that he may not be discovered,
dianges clothes with Tim — before he left London,
he had robbed his father of 2 or 3 purses of gold —
they were his own property, as having been given to
him by his grandmother^ but detained from him by
his fiither— he forgets to take the money out of his
pockets when he gives his clothes to Tim — Tim, on
finding the money, goes to the gaming table, and
loses it — he is taken up, as Rakely, for the robbery,
but gets off— he is very inetrumental in overreaching
Monkwell — at the conclusion, he marries Sally —
Rakdy determines to reform, and marry on his
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return to London— this is on the whole a good C. —
many worse plays have heen acted with success —
the anonjonous author has improperly introduced
a sneer on Miller's Humours of Oxford — whereas
his own misrepresentation of University matters is
the great fault of his play — in the dedication to Pope,
he intimates that some lines in Pope's translations
from Horace have a near resemblance to his own
verses on Childermas Day — viz. those of William
Quaint, Bellman— for so he signs his dedication.
Intriguing Milliners and Attomies' Clerks, pro-
bably 1738 — some few passages in this piece are not
bad, but on the whole it is a dull mock Tragedy, in
2 acts — it is attributed to Robinson.
Peijured Devotee, or the Force of Love, by Bel-
lamy— the Editor of the B. D. says this C. was
printed in 1739— Barker sajrs 1746 — my copy is
dated 1741 — the main plot of this play is taken frmn
the Andrea of Terence — the underplot from Cowley's
Naufragium Joculare.
Rival Priests, or the Female Politician 1739 or
1741 — this is a good Musical Farce by Bellamy — it
is stolen from Love in a Chest— see Hay. May
1 1710.
Raree Show, or the Fox Trap't 1739— this is an in-
different Op., in 2 acts— it was written by Peterson,
who was at G. F. in 1741 — in 17^8> as he was acting
the Duke in Measure for Measure, he was taken so
ill that he dropped into Moody's arms, and never
spoke more. (jB. D.)
False Guardians Outwitted 1740 — this Op., in 2
acts, was written by W« G. — it is on the whole a
poor piece —but Harry is far from a bad character.
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Rosalinda — a mueical trifle by Lockman, 1740.
Happy Captive, an Opera in 8 short acts by Theo-
bald, 1741 — he tells us that his piece is foanded on
the History of the Slave in Don Quixote— Theobald,
at the end of the 1st act of his Opera, has introduced
a scene betwixt Signer Capoccio, a Director from
the Canary Islands ; and Signora Dorinna, a Vir-
tuoea — Capoccio wishes to engage Dorinna as a per*
former— she objects that her language would be
foreign and unknown to the audience— he replies—
*^ Eh I make no strain of that affair ;
" We give a book to the Parterre ;
*' And so the singing be but good,
" No reason, words be understood/'
A similar scene is introduced at the end of the
2d act — these scenes are written to ridicule the
Italian Opera — they have much greater merit than
the Happy Captive itself, which is serious — see
D. L. Jan. 17 1745.
Levee — this Farce is attributed to Kelly — it was
refused a Licence after having been accepted at
D. L. — ^as a Drama it has little to recommend it —
the Editor of the B. D. says this piece was printed
io 174 1— my copy is dated 1744 — this refusal of a
licence is one flagrant proof of the folly of subject-
ing the theatres to the caprice of an individual*
Strollers Pacquet Opened — a small voL under this
title was published in 1742 — it consists of 7 Drolls,
or Farces, calculated for the Meridian of Bartholo-
mew and Southwark Fairs.
1. Bilker Bilk'd, or a Banquet of Wiles— this
piece in one act is taken from Woman's Revenge —
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— it consists of the tricks which Vizard plays Mixum
— and doubtless differed but little from the Biter Bit,
which was acted at Hippisley's booth in 1734.
2. Witchcraft of Love, or Stratagem on Strata-
gem—this piece, in 2 acts, is taken from the Man's
Bewitched— it is in a considerable degree the same
as the Ghost, but the characters of Faithful, Sir
David, Num, Slouch, Manage, Laura and Lucy are
retained and shortened.
3. Braggadochio, or His Worship the Cully — this
short piece in one act, consists of the scenes in the
Old Batchelor between Sharper, Sir Joseph Wittol
and Captain Bluff.
4. Feigned Shipwreck, or Imaginary Heir — this
piece, in one act, is taken from the Scoraful Lady
— her character is omitted — ^the D. P. are — Elder
Loveless — ^Young Loveless— his companions — Savil
— Morecraft and the Widow— see vol. 8 p. 332.
5. Guardians over-reached in their own Humour,
or the Lover Metamorphosed — this piece is die Bold
Stroke for a Wife cut down to 2 acts.
6. Sexes Mis-matched, or a New way to get a
Husband — ^this piece, in 2 acts, is compiled from
Oroonoko and Monsieur Thomas — the scene lies at
Gibralter — the characters introduced from Oroonoko
are Mrs. Lackit, Charlotte and Lucy Welldon, Stan-
more, his brother, and Daniel — ^Uiose from Monsieur
Thomas are Thomas, Sebastian, Launcelot, Hylas,
Mary and Dorothea — ^most of the names are changed
-*and some little additions are made to the scenes
from Monsieur Thomas.
7* Litigious Suitor Defeated, or a New Trick to
get a Wife — ^this piece in one act is taken from
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Woman's a Riddle — the characters are, Courtwell,
Voltare, Col. Manley, Necessary, Lady Outside and
Miranda — ^but the Colonel and Miranda only speak
some few lines^ome little additions are made.
State of Physick 1742 — this C. is merely a Satire
on Physicians and Apothecaries — some parts of it
are well written, but on the whole it is very dull.
Schoolbo/s Mask 1742— as a Drama this piece is
a Fcry bad one, but the sentiments introduced are
good.
Court and Country, or the Changelings, a ballad
Opera as it was lately performed, 1743— political.
Humours of Whist, a Dramatic Satire in one long
acty 1743— this piece, both as a Satire and a Drama
is insipid.
Mission from Rome into Great Britain, in the
cause of Popery and the Pretender, soenically repre*
sented— 'the D. P. of this little piece are Two Jesuits
— the Pope— and the Devil disguised as a Pilgrim —
this poem is in rhyme— it was doubtless printed in
1745 or 1746 — but it has no date— it is not badly
written.
Married Coquet 1746— this is a posthumous C. by
Dr. Baillie — it is sensible and well written, but for
want of incident it rather verges towards dullness.
Henry Ward, Comedian, published the Sd edition
of his Works in 1746 — his Works (as he is pleased
to call them) consist of 3 Farces and some trifling
Poems— the Farces are printed with the cast of the
York Company.
1. The Happy Lovers, or the Beau Metamorphos'd
— this insipid Opera, in one act, was printed in 1736
as acted at L. I. F. — from the allusion to Pasquin
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in the Prologae, and from the names of the peiform-
ers, it seems to have been acted before Giffard rented
that Theatre— Modish = Ward : Constant = Hem-
skirk : Sir Timothy Careful = Bullock : Friendly =
Pritchard : Charles (servant to Constant) = Hussy :
Celia (daughter to Sir Timothy) = Mrs. Forrester :
Betty = Miss Brunette : — Constant and Celia are
mutually in love — Sir Timothy insists that his
daughter should marry Modish — ^he has a great ve-
neration for a man of courage, and thinks Modish
one-^Friendly purposely affronts Modish — Modish
challenges him — Modish is frightened — he gives
Charles £100 to keep the appointment with Friendly
in his stead — ^he gives Charles bis clothes, and puts
on Charles* livery — Sir Timothy is convinced of
Modish's cowardice and consents to his daughtei*'s
union with Constant
S, Petticoat-Plotter, or More ways than one for a
Wife — this is only Hamilton's piece with some slight
alterations — seeD.L. June 5 I712.
S. Widow's Wish, or an Equipage of Lovers— this
Farce is stolen from the Half-Pay Officers — see
h. L F. Jan. 11 1720.
Heathen Martyr, or the Death of Socrates, by G.
Adams M.A. 1746— In the 2d act Theseus returns
from Crete, after having conquered the Minotaur —
Socrates is brought to his trial, and condemned — in
the 3d act he drinks the poison and dies— in the 4th
act a plague ensues in consequence of his death — ^in
the 5th act, the enemies of Socrates are destroyed^
and the plague ceases — the author of this piece seems
to have been cracked in his head, for that he was not
a fool is clear, some parts of it being well written-*
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besides, the character of Socrates is not badly sup-
ported—on the other hand, Adams, not contented
with representing Theseus and Socrates as contem-
poraries, makes Xantippe talk of Adam and his
spouse— Crito calls Xantippe —
"Bright storer of her sex's shining virtues/*
Melitus speaks of Cataline and Cicero— in the 5th
act, guns go off, and cannons are planted on the
walls — Sir and Madam occur several times in the
course of the play— in the 4th act, the scene changes
to the theatre — the Palamedes of Euripides is
about to be represented— the Prologue concludes
with saying, that they had put the most just of the
Greeks to death— Euripides had directed the player
to speak this line with peculiar emphasis — and the
spectators apply it to Socrates.
Shipwreck 1746 — this dramatic piece consists of
53 pages, but it is not divided into acts —it is not
without a tolerable share of merit, particularly in the
low comic characters — the object of it is to expose
the depredations practised in cases of Shipwreck — it
was written by Hyland, a farmer in Sussex, who
seems to have been thoroughly acquainted with his
subject — at the opening of the piece, the sea is tem-
pestuous— Careful pretends to be an honest man, but
is really a depredator — a ship is wrecked— and the
wreckers (as they are called) flock down to the shore
— Lovemore takes advantage of Careful's absence to
marry his niece — he gets possession of CarefuPs
papers, and Careful is forced to be reconciled to him
—Jerry, Lovemore's man, and Lucy, Careful's ser-
vant, are not bad characters —one stroke of humour
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deserves to be noticed — Jack Lookout and Tom
Plander are sea poachers — one of them tells the
other— that he once found a dro\vned man on the
shore — that he would not cut off his boots for fear
of spoiling them — but lopt off both the man's legs,
and hung them up in his chimney, till they dried and
dropt out of the boots.
Fortune's Tricks in Forty Six — printed in 17*7 —
this Allegorical Satire is written with considerable
ability.
Lad/s Lecture, a theatrical dialogue, between Sir
Charles Easy and his marriageable daughter, by Col-
ley Gibber, 1748 —it is astonishing that Gibber, who
had spent so many years of his life in a theatre,
could be such a blockhead as to call this insipid dia-
logue of 43 pages, a theatrical dialogue — never was
there a dialogue written, to which that Epithet vras
less applicable.
Porsenna*s Invasion, or Rome Preserv*d 1748 by
* * — some few speeches are well written, but on the
whole this is a very dull T. — the story is ill calcu-
lated for the stage, and the author has taken too
great liberties with it— Brutus is his principal cha-
racter— in the 4th act he fights with the Younger
Tarquin and kills him, but is mortally wounded him-
self-—in fact Brutus and Aruns had killed each other,
nearly in the manner here represented, before Por-
senna*8 Invasion — see Livy book £d — the love scenes
are between Mutius and Cicelia- in the Ist act the
Ghost of Lucretia warns Brutus of his danger — Bru-
tus asks tidings of the approaching foe, and is told by
Lartius —
** Not fifteen stones from hence their dust appears."
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In English we do not say stones for milestones, and
in all probability the Romans had no milestones in
the time of Pi^rsenna.
Queen Tragedy Restored was printed in 1749 — ^it
is said in the B. D* to have been acted one night at
the Hay. — Queen Tragedy is represented as dying of
a lethal^ — Dr. Doleful and Dr. Drollery attempt to
cure her by opposite methods— at the conclusion
Shakspeare rises, and the Queen recovers — this is a
an indifferent piece in 2 acts — ^there are 3 or 4 very
good observations in it — Mrs. Hoper wrote this en-
tertainment and acted the Queen.
R^cide, or James the 1st of Scotland, 1749 —
this T. was printed by subscription for the benefit of
the author — price 58. — Smollett in the preface makes
bitter complaints of the treatment he had met with
— of the different managers of D. L , who had to a
certain degree accepted his play, and then put off
acting it from season to season, he complains with
much reason — but no blame can be attached to the
manager of C. G. who had bluntly refused it — the
Regicide is a moderate play, such as a manager
might accept or reject without much impeachment
of his judgment — the great fault of it is, that the
language is too frequently unnatural — this is parti-
cularly the case when Dunbar and Eleonora are
dying.
Tittle Tattle, or Taste a-la-Mode 1749— this
Farce, in 2 acts, is merely a satire on Polite Con-
versation.
General Lover C. by Moss 1749— a most wretched
play.
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Jovial Cobler — a moderate Barletta — probably
printed in 1749.
Oliver Cromwell, an historical play, by Green,
1752 — some parts of this play are well written — but
the greater part of it is dull the grand fault of
it is, that Cromwell is represented as really instigated
by an evil spirit, who appears to him twice, and at
his last visit foretels the Hanover succession — the
characters of Harrison and Hugh Peters are well
drawn ; and justice is done to Ludlow, who is repre-
sented to be, as he really was, a staunch republican,
and an enemy to Cromwell, when he usurped the
supreme authority — Ludlow in his Memoirs (vol. 2
p. 72) observes, that a wise man would never esteem
it worth the scratch of a finger, to remove a single
person acting by an arbitrary power, in order to set
up another with the same unlimited authority —
Cromwell wanted Ludlow to engage not to under-
take any thing against him, which Ludlow refused —
Ludlow gives the particulars of the conversation
which passed between them — Cromwell for a moment
forgot all that he had done against Charles the 1st,
and said to Ludlow, " if Nero were in power^ it
" would be your duty to svbmit**
Killing no Murder— a discourse proving it lawful
to kill a tyrant — was printed in 1656 and re-printed
in 1775 — to it is prefixed an address to Oliver Crom-
well— << How I have spent some hours of the leisure
<< your highness has been pleased to give me, this
<* following paper will give your highness an account
<< —how you will please to interpret it I cannot tell,
<< but I can with confidence say, my intention in it
<< is, to procure your highness that justice no body
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*' yet does you, and to let the people see, the longer
** tbey defer it, the greater injury they do both them-
" selves and you— To your highness justly belongs
<< the honour of dying for the people — and it cannot
** choose but be an unspeakable consolation to you
^Mn the last moments of your life, to consider, with
<< how much benefit to the world you are like to
** leave it * * all this we hope from your highnesses
'* happy expiration, who are the true father of your
" country — for while you live, we can call nothing
^* ours, and it is from your death that we hope for
** our inheritances,'* &c.
Fair Parricide— (probably) 1752 —an indifferent T.
in 3 acts by * ^ — it is founded on the story of Miss
Blandy, who had been lately executed for poisoning
her father.
Distress upon Distress, or Tragedy in true Taste,
1752 — this piece, in 2 acts, was written by 6. A.
Stevens— there is no plot— at p. 54 Fanfly says -*
** And common sense stood trembling at the
door."
— CSiorchill borrowed this line, and inserted it in his
Rosciad— Stevens was afterwards well known for his
Lecture on Heads — Mrs. Gibber, in the Dialogue
in the Shades I766, says of Stevens «• After
" having served two apprenticeships to the stage, he
" found himself as deficient in point of acting as at
** the first setting out."
Theodorick King of Denmark 1752— this T. was
written by a Young Lady— it is a poor play, but not
a very bad one.
VOL. X N
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Adamus Exsul 1752— this is the 5th edition of a
lidtin play written by Grotius.
Sylla 1753— this Dramatic Entertainment, in 3
acts, was translated from the French by Derrick — it
is a poor piece—the character of Sylla is misrepre-
sented—besides which, he sings 3 songs.
Ragged Uproar, or the Oxford Roratory 1754
(B. D.) — this is a temporary satire, the drift of
which, at this distance of time, it is not easy to com-
prehend.
Rehearsal at Goatham 1754 — this is a posthu-
mous Farce by Gay — Peter exhibits his Puppet Show
— the different members of the Corporation apply to
themselves what is said about the Puppets — in this
consists the humour of the piece.
Frenchman in London 1755 — this piece is well
written, but rather dull, as being mere conversation
,— see Tutor for the Beaus L. I. F. Feb. 21 1737-
Country Coquet, or Miss in her Breeches 1755 —
a poor musical piece by a lady.
Spouter, or Double Revenge 1756 — this insipid
Farce, in 3 acts, is attributed to Dell— the author, in
his advertisement, modestly pleads his youth and in-
experience— persons of youth and inexperience oi^ht
to read and not write.
Mirrour 1736 — this is merely an alteration of the
Muse's Looking Glass — see C. G. March 14 1748.
Sham Beggar 1756— this poor Farce was printed
at Dublin.
Sham Fight, or Political Humbug 1756— this is a
dull political Farce.
Tryal of the Time-killers 1757 — this C. is attri-
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bated to Dr.Baoon — some parts of it are well written,
others are very dull — persons of fashion, who mispend
their time, are brought to their trials for injuring
Timothy Time Watch and Clockmaker — Seijeant
Goodman is Counsel against the Prisoners, and Ser*
jeant Sly for them — the author's plan is far from a
bad one, but by lengthening it out to 5 acts, he has
weakened it vastly — a dramatic satire, without plot
and incident, should not be extended beyond 2 acts,
or 3 at the utmost — Dr. Bacon is supposed to have
written 3 other pieces— the Moral Quack— the Ocu-
list— and Taxes— all printed in 17^7-
Secret Expedition 1757— political.
Somewhat 1757 — vastly moral, but vastly dull.
Olindoand Sophronia 1758— this T. was written
by Portal — it is founded on the 9d book of Tasso's
Jerusalem Delivered — on the whole it is not a
bad play — the part of Sophronia has considerable
merit.
Tombo-Chiqui, or the American Savage 1758—
this C in 3 acts, is a translation from the French-
see Art and Nature D. L. Feb. 1 6 1738— the trans-
lation is attributed to Cleland.
Albion Restored, or Time turned Oculist 1758 —
this is a poor Masque by •
Low Life above Stairs, ** a Farce as it is acted
** in most families of distinction throughout the king.
^ dom,** was meant as a counterpart to High Life
above Stairs— as a Drama it is contemptible— as a
Satire it is not entirely void of merit— Lord Lawless
assumes the disguise of a footman for the sake of
carrying on an intrigue with a Duchess — ^her husband
discovers them in a very improper situation — in the
N 2
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2d act, Lord Lawless discovers the Dachess in a
similar situation with a French Barber — this is one
of the most indecent pieces ever printed.
Titus Vespasian by Cleland I76O (or 1755)— see
Conspiracy D. L. Nov. 15 1796,
Ladies* Subscription — this little piece was pub-
lished at the end of Titus Vespasian.
L' Amour a-la-Mode, or Love a-la-Mode I76O —
an indifferent Farce, in 3 acts, by •
The Snake in the Grass, and the Muses in Mourn-
ing were printed in Aaron Hill's works 176O, after
his decease the Snake in the Grass is a tolerable
Satire on Pantomimes and Operas— for the Muses
in Mourning see Vol. 8, p. 332.
In consequence of the great success of the Minor
in 1760, 2 catchpenny pamphlets, in a dramatic
shape, were printed about that time — they were
called — ^the Methodist and the Spiritual Minor.
Students 1762— this is professedly Love's Labour
Lost adapted to the stage, but it does not seem to
have been ever acted — the maker of the alteration
(as is usual in these cases) has left out too much of
Shakspeare, and put in too much of his own stuff
— Biron is foolishly made to put on Costard's coat-
in this disguise, he speaks part of what belongs to
Costard, and is mistaken for him by several of the
characters — the Curate and Schoolmaster are omit-
ted, but one of the pedantic speeches belonging to
the latter, is absurdly given to a player — one thing
is very happily altered — Armado's letter to the King
is omitted as a letter, and the contents of it are
thrown into Armado's part _ the Cuckow Song is
transferred from the end of the play to the 9d act, in
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which it 18 sang by Moth— it is now usually sung in
As you like it— — Steevens in a note on the 3d act
of the original play observes, that in many of the old
Comedies the songs are frequently omitted — on this
occasion the stage direction is generally — here they
BiDg — or cantant — probably the performer was left to
the choice of his own ditty — sometimes yet more was
left to the discretion of the ancient Comedians —
thus in Green's Tu quoque — << here tiiey two talk
*<and rail voh4it they Ks^* — Steevens gives other
similar instances,
Telemachus by Graham 1763— this Mask consists
of about 90 pages in 4to -^ it is not badly written,
but as a Drama it is very dull.
Englishman in Bourdeaux 1764 — this C, in one
long act, had an extraordinary run on the French
stage — the object of Favart in writing it, was to re-
move national prejudice -^ he has drawn his cha^
meters with impartiality, and written his dialogue
with neatness and good sense, but his piece is some-
what dull, for want of incident — the manner in which
we represent a Frenchman on our stage is disgraceftd
to ourselves — this however is rather the fault of the
former than of the present times.
. Amana 1764 — Mrs. Griffith says that she took the
story of this dramatic poem from the Adventurer,
No. 7^ dnd 73— the scene lies at Grand Cairo— the
play is far from a bad one.
Parthenia, or the Lost Shepherdess 1764 — this
Arcadian Drama, in 3 acts, is very well written— the
plot is simple.
Birth of Hercules by W. Shirley, 1765— this piece
is a short Masque with songs-— it had been rehearsed
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at C. G., but was laid aside oq accoant of the riots
in 1763 — Beard, not thinking that it would answer
to be at much expense about a musical piece, for
which half price must be taken — see C. G. Jan. 24«
Merry Midnight Mistake, or Comfortable Con-
clusion, 1765 — a poor C. by Ogbome.
Siege of Calais, translated from the French of
fielloy by Dennis, 1765 — Belloy in his historical
notes has inserted Froissard's account of the Sur-
render of Calais, from which he has deviated in a
most unwarrantable manner — see Surrender of
Calais, Hay. July 30 1791 .
Epponina 1765 — this T, is attributed to Carr — it
is founded on real facts — Julius Sabinus caused him*
self to be proclaimed Ceesar in Gaul — he was de-
feated— he burnt his villa, and was supposed to have
perished with it — he lived concealed in a cave for 9
years — his wife, Epponina, frequently visited him,
and had even 2 children by him in the cave— Sabinoa
was at last discovered — he and Epponina were put
to death by Vespasian — Tacitus in the 4th book of
his History begins the story, but leaves the conclusion
of it for the proper place— «it is mentioned concisely
in the Epitome of Dio Cassius — and circumstan-
tially by Plutarch at the end of his Eroticos— the two
children were saved — Plutarch justly reprobates the
conduct of Vespasian, and seems to have been ac-
quainted with one of the children— Carr has drama^
tized the story very badly.
Man of the Mill, a burlesque Tragic Opera, was
printed in 1765— it is a poor parody on the Maid of
the Mill
Fairy Favour I766 (not 1767)— the Queen of the
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FairieB is niuoh distressed at the loss of her son,
Oriel — she is consoled by the King> who tells her,
that Oriel spends an age or so with man, to glad a
glorious nation — the Editor of the B. D« says, that
this Masqae was written by Hull, for the entertmn-
ment of the Prince of Wales, the 1st time he came to
the theatre— and acted some few nights at C. G.
^ The Assembly, or Scotch Reformation, a Comedy
<' as it was acted by the Persons in the Drama— done
*<firom the Original Manuscript, written in 1692—"
<' Edinburgh 1766'' —the first edition of this play is
said to have been printed in 17?2 — it is clear from
the prefiaice that it was composed by more than one
person — as it was not published till many years after
it was written, we have the names given us of the
persons who are represented under fictitious cha«
racters— the authors were Jacobites, and the Comedy
is a severe satire on the Prpsbytery — there is a love
episode which enlivens the play — Will and Frank
are in love with Yioletta and Laura — the ladies de-
sire them to come to their aunt's disguised as fanatic
ministers — the aunt, who is a bigot, requests them to
make a religious exhortation before dinner — Will
and Frank are reduced to a ridiculous embarrass-
ment— Laura extricates them by saying that it is St.
Peter's day — the old lady falls into a fit at the men-
tion of a saint's day — on the whole this C* must be
dlowed to be written with considerable humour —
but the humour, which was at first local, is now be-
come obsolete — in order to understand the state of
things in Scotland when this play was written, Bur-
net should be consulted.
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Conquest of Canada, or the Siege of Quebec, by
Cookings, 1766— a poor piece.
Ponteaqh, or the Savages of America, I766 — this
is a strange T., but not alb^ether without merit.
Coronation of David 1766— an indifferent Drama,
in 2 acts, by a Sussex Clergyman.
Inoculator 1766 — this is a moderate C, in 3 acts
— ^it was written by some person who was no friend
to inoculation^ — ^it is attributed to G. S. Carey.
Eugenia T., by Hayes and Carr, 1766 — as they
were both young and inexperienced at the time of
writing it, it does, them credit — Hayes was after-
wards well known, as being for many years Usher at
Westminster.
Cottagers I766 — a poor Opera, in 3 acts, by G. S.
Carey.'
Dorval, or the Test of Virtue, translated from
Diderot, 1767 — this is on the whole an interesting
play, particularly in the character of Dorval.
Redowald 1 767— this Masque, in 3 acts, was writ-
ten by a youth of 16.
Demetrius translated from Metastasio by Hoole,
1767— this play is written in the style of a Tragedy,
but with frrquent songs, so as to form a precious
medley of sense and nonsehse.
Village Wedding I767 — this musical trifle is at-
tributed to Love.
Liberty Chastised, or Patriotism in Chains, I768 —
ibis is a political pamphlet, in the shape of a Farce,
in 3 acts — it was written at the time when Wilkes
was in prison — Wilkes is the hero of this piece, but
he is not one of the D. P.
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Mysterious Mother 1768— the Coont of Narbonne,
16 years before the play b^ns, had been accidentally
killed — on the night after his death, his son Edmund,
then a youth, stole into the chamber of Beatrice, his
mother's woman — she had previously acquainted the
Countess with Edmund's passion for her, and the
Countess had placed herself in Beatrice's bed — the
consequence of this fatal meeting was a daughter
called Adeliza — at the opening of the play Edmund
returns — he falls in love with Adeliza and marries
her — not knowing who she is — in the last scene the
Coautess discloses what had happened — she stabs
herself— Adeliza faints — Edmund determines to go
to the wars in the hope of finding an honourable
death this T. was written by the Hon. Horace
Walpole — ^it is an admirable play, but not calculated
for representation -^at least the delicacy of the pre-
sent age would not permit it to be acted — but a
Tragedy founded on the same circumstances — the
Fatal Discovery, or Love in Ruins — was acted at
D, L. in 1698.
Fatal Discovery. Cornaro (son to Beringaria)
= Powell : Dandalo (an old man, jealous of his wife)
= Johnson : Segerdo (in love with Eromena) =
Evans : Conall =2 Thoimas : Beringaria (a widow) =:
Mrs. Knight : Araspia (her confidant) = Mrs. Pow-^
ell: Mai^aretta (wife to Dandalo) = M rs. Verbrug-
gen : Eromena = Mrs. Cross : Cleonista = Mrs.
Temple : — about 18 years before the play begins,
Beringaria had passed a night with her son, sup-
posing him to be her husband — Cornaro supposed
his mother to be a female servant — ^Eromena is the
daughter of Cornaro and Beringaria — she had been
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brought up as a foundling — at the opening of the
play» Gornaro returns home, after an absence of
several years — he falls in loye with Eromena^ and
marries her— when the Fatal Discovery is made, Be-
ringaria goes mad and stabs Eromena — Comaro
fights with Segerdo and is killed — there is a comic
underplot — this is a poor play — in the Prologue,
Powell spoke one line grunting like Betterton — and
the next, with the voice of a Christian — see D« L.
1698.
Innocence Distressed, or the Royal Penitents, 1737
— this is a posthumous T. by Gould — the plot is
better than the language — Theodorus, the great Duke
of Muscovy, is in love with Adorissa — she is in love
with him — the Duke's Mother takes great pains to
hinder their union — when they are united, she gives
each of them a dose of poison to prevent the con-
summation of the marriage — the poison operates too
slowly to prevent it — Theodorus and Adorissa, be-
fore their deaths, become sensible of their real situa-
tion, namely, that Adorissa is the daughter of the
Dutchess by her son Theodoras — ^the Dutchess goes
mad, having previously poisoned herself— this T.
and the Mysterious Mother are founded on the same
story — Gould's play is not a bad one, but it is in
every respect veiy inferiour to Walpole's — in both of
these plays, the original intention of the mother was
merely to reprimand her son.
Bastard Child, or a Feast for the Churchwardens
1768— this Dramatic Satire, in 2 acts, is not written
with much spirit, nor is it very dulK
Richard in Cy{H*us — probably I769— this is an in-
different T. by Teres.
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Majesty Misled 1770— the Editor of the B. D.
says that this T. was printed in 173^ &nd only re-
printed in 1 770— the latter edition was obriously
published for political purposes — ^the play consists
of the history of Edward the 2d and the Spencers.
Favourite I77O— a third, or perhaps a half of this
play, is taken from Ben Jonson's Sejanus — ^the ano-
nymous author has prefixed to it an ironical dedica-
tion to the Earl of Bute — the late Dr. Scott was fre-
quently called Auti*Sejanus Scott, by way of dis*
tinction, as being the author of some letters against
Lord Bute under the signature of Anti-Sejanus —
these letters were much read at the time, and are
alluded to in the Clandestine Marriage— Canton
complains that the newspapers contain ** nothing but
** Anti-Sejanus and advertise.'*
Reapers 1770 — this Opera, in 3 acts, is little more
than a translation from the French — the French
piece was adapted to the English stage by Mrs.
Brooke as Rosina — see C. G. Dec. 31 1782.
Meiian published 3 plays without a date — the
Editor of the B. D. says in 1771*
1. Emilia — an indifferent T.
3« Northumberiand — this is on the whole a dull
T., but several speeches are well written — it is
founded on the story of Lady Jane Gray.
3. Friends — a poor T.
Fair Orphan — this Opera was acted at Lynn in
1771-
Richard Sd 177^ — this is a very bad alteration of
Shakspeare's play, by Goodhall.
Chace 177S~this Pastoral Drama, or rather Opera,
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in 2 acts, is written in rhyme, but it does not appear
by whom— the scene lies in Arcadia.
Sir Harry Gaylove 1772— this C. was written by
a Lady — the greater part of it is insipid — but there
are two good characters in it — Lord Evergreen and
Mrs. Coaxer.
Valentia, or the Fatal Birth-Day 1772— this is a
doll T. by Stewart — the plot is not exactly the same
as that of the Fair Penitent, but it bears the strongest
resemblance to it— the author in his preface says
that there is but one circumstance in his whole play,
the least culpable with regard to plagiarism— this
is a barefaced falsehood.
Sebastian 1772'- this is a poor T. by Toosey, but
not a very bad one — there is an Episode in it, which
is stolen in a barefaced manner from Fatal Curiosity.
Bow Street Opera 1773 (B. D.) — this is a poli-
tical pamphlet in the shape of a play — the chief
object of it is to abuse Wilkes as Cock-eyed Jack.
Martyrdom of St. Ignatius by Gambold — this T.
was written in 17^0, but not printed till 1773 after
the author's decease — the Clergyman, who pre-
vailed on Wilkinson to bring it out at Hull on Dec.
29th 178 1» acted very injudiciously— as it is a sacred
Drama, and could not be exhibited in a common
theatre without a gross breach of propriety — besides
several of the scenes must be superlatively dull in
representation — Stephen Kemble acted Ignatius —
see Wandering Patentee vol. 2 p. 125 — ^the scene in
the 1st and 2d acts lies at Antioch — ^in the 3d and
4th at Smyrna — and in the 5th just without the city
of Rome — Ignatius is led off to be exposed to the
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wild beasts in the Amphitheatre— two of his foK
lowers relate the manner of his death — the charac-
ter of Ignatius is well supported — and the dialogue
on the whole is well written.
Ill-natured Man 1773— this is a tolerable C, in
2 acts, by .
Siege of Tamor 1773— this is an indifferent T.,
by Howard— the plot is in a great measure the
same as that of Hibemia Freed — see L. L F. Feb.
IS 1722.
Palladius and Irene 1773— this Drama, in 3 acts,
is very well written in point of language, but the
plot is very unnatural, and very improbable— Three
Genii representing Thrace, Thessaly and Macedon
b^in the piece — and a Chorus of Sea Nymphs con-
cludes the 1st act.
Search after Happiness I77S— this Pastoral Drama,
in rhyme, is attributed to Miss Hannah More— it is
very well written, but the author should have called
it a Pastoral in Dialogue— it cannot with propriety
be called a Drama, as there is no action.
Inflexible Captive by Miss H. More 1774 — many
speeches in this T. are well written, but on the
whole it is a very dull play — it was acted at Bristol
— Henderson is said to have acted Regulus —
Dimond certainly acted the part.
Parthian Exile 177*— this T. was written by G.
Downing, Comedian— it is a poor play both as to
plot and language, but not a very bad one.
Politician 1 774— this piece is well written— the
stratagem, by which the catastrophe is brought
about, is not only new, but good— yet Garrick can«
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iiot be blamed for rejecting this Farce, as mere
dialogue will not do on the stage.
Two English Gentlemen, or Sham Funeral, by
Stewart 177* —this is on the whole a very poor C.
Arsaces 1775— this is on the whole a poor T. —
it is attributed to Hodson — the plot is professedly
founded on an Op. by Metastasio.
Widow of Wallingford 1775 (B. D.) -C. in 2 acta
with songs-— this piece is a trifle — but many a worse
Farce has been acted with success.
Citizen's Daughter 1775 (B. />.)— a trifle.
Cloacina 1775 — this Comi«Ti*agedy is a satire on
the taste of the times, which the author supposes to
be very bad — he says—" N.B. I begin my play at the
" 5th act, because I find it fashionable to make the
" four first acts of no importance at all" — Common
Sense is discovered in a languid posture, supported
by Nature and Philosophy — Poetry enters in chains
Poetry speaks 12 very good lines about Shak-
speare— in the next scene, Cloacina is seated on a
throne — Lord Chesterfield presents his letters — ^the
Chorus addresses Cloacina
" Goddess I hear this suppliant prayV,"
" Take four volumes to thy care ;''
" Volumes, all the wise agree,**
" Worthy him, and worthy thee/*
Dr. Johnson makes a speech— the Ghost of Com-
mon Sense disconcerts the assembly — Cloacina re-
enters, and at the conclusion descends in smoke —
the author of this short piece has introduced a happy
simile
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''Like speciooB Burke, who talks withoat de*
sign/'
Ab Indians paint, because their tints are fine/'
€€
In the Prol(^ue he observes —
" Sooner shall Murphy write with Shaksjieare's
pen,"
'' The bench of Bishops vote like honest men,''
Sec
' Duenna 1776— this is merely a political pamphlet,
in 3 acts— the Editor of the B. D. calls it a parody
on Sheridan's Opera — he should have restricted his
observation to the songs only -> in every other respect
00 two pieces can possibly be more opposite.
M elite translated from the French 1776— on the
whole this is a good C— Corneille represents modem
manners, and lays his scene at Paris, but the names
of the characters are inconsistent with this supposi-
tion— the case is much the same in some of Moliere's
plays — the English stage in this respect, is very su-
periour to the French.
Warboys in 1777 published 2 short pieces pro-
fessedly taken from the French — the Preceptor and
the Rival Lovers — ^they are neatly written.
Statute 1777 — this is rather a short Dialogue than
a Drama.
Honest Criminal, or Filial Piety, translated from
the French of Falbaire by G. L. 1778 — the Editor
of the B. D. says — " this piece is founded on the
^* well-known catastrophe of Galas, and abounds with
« pathetic and generous sentiments, that do honour
'^ to the writer — the translation is spirited and ele-
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" gant" Of all the articles in the B. D. this is
one of the most extraordinary — the Editor had either
not read the play of which he speaks so particularly,
or else he knew nothing of the story of Galas — (see
Fate of Galas, Bath March 17 1821) — the French
author (a Catholic) professedly wrote his piece with
a view to remove religious bigotry — in his preface
he speaks of the fate of Galas with abhorrence, bat
the events of the Drama have no reference to his
story — Lysimon, a Protestant Glergyman, had been
condemned to the gallies for his religion — his son
Andrew had prevailed on the person who was con-
ducting him thither, to take him instead of his father
— Lysimon on the death of his wife (for whose sake
he had suffered Andrew to release him) comes at the
end of 7 years to surrender himself, and set his son
at liberty— the Gommandant of the gallies obtains a
free pardon for Andrew, who is united to the woman
with whom he was in love — this Drama has consider-
able merit on the whole, but some parts of it are very
dull — it would be greatly improved by being reduced
to 3 acts.
School for Scandal 1778— political.
Gospel-Shop 1778 (5. 2).) — a more stupid play
was perhaps never written.
Beautiful Armenia by Ball 1778 — the far greater
part of this C. is a translation of the Eunuch of
Terence — for the Eunuch see D. L. July 9 1717-
Malcolm 1779— this T. is attributed to Miss Ro-
berts—it is a poor play — Malcolm and Macduff are
the same characters as in Macbeth,
Experiment 1779— a poor Farce by Murray the
actor.
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Shipwreck I78O— this Op., in 3 acts, is Shak-
speare's Tempest shamefully mangled.
WestmeoD Village I7SO— a contemptible Op., in
3 short acts.
Oaks, or the Beauties of Canterbury I78O — ^this
is an indifferent C*, written by Mrs. Burgess — see
For England Ho I C G. Dec. 15 1813.
Belle's Stratagem I78I — this catchpenny pam*
phlet has nothing to do with the stage.
Selmane by Pott 1782 — this is on the whole a
goodT.
Runnamede by Logan 1783 or 1784— some parts
of this T. have great merit — but on the whole it can
hardly be called a good play — Runnamede and Mag-
na Charta are subordinate considerations, and oc-
cupy not much more than one act — the bulk of the
piece is a love Episode.
Father's Revenge by the Earl of Carlisle 1783—
this T. on the whole has considerable merit — '< the
'* story is extant and written in very choice Italian*'
— see Boccace Day 4 Novel 1, and Tancred and
Gismunda in the 11th vol. of Dodsley 1744
Edwy 1784— this dramatic poem, in 3 acts, is not
without a tolerable degree of merit — Edwy marries
his cousin Elgiva, in spite of the outcries of Dunstan
about incest — Edgar, the brother of Edwy, is secretly
in love with Elgiva — ^the Earl of Kent is prevailed on
by Dunstan to carry off the bride from the banquet,
—she is restored to Edwy by Edgar — Odo, the Pope's
Legate, under the pretence of admitting Edwy and
Elgiva anew within the pale of the Church, causes
them to drink of a cup, which had been poisoned by
VOL. X. O
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DuDstan's direction — they die— Emmeline the mo-
ther of Elgiva, a woman of a high spirit, stabs Dan-
stan the author in his advertisement says, that
he has taken some liberties with the story — in fiuA
he has taken the greatest — see Rapin — Dunstan was
banished by Edwy and did not return to England till
after his death — the character of Edgar is grossly
misrepresented, and nearly the whole of the play is
fiction— the author adds, that he has studied to pre-
serve the manners of the 10th century — the 2d act
begins with the entrance of Edwy and his Lords from
a tournament— there were no tournaments in this
country till many years after the death of Edwy
among the Normans, tournaments had been popular
previously to the conquest — and the practice was in-
troduced by them into England — we hear nothing
however of their encouragement by royalty till the
reign of Richard the Ist— (Warner.)
Patriot 1784 ('B. D.J — this play is translated from
Metastasio by Hamilton — Metastasio has greatly mis-
represented the character of Themistocles, who could
not, with any degree of propriety, be called a Patriot
in the latter part of his life.
Editha 1784— an indifferent T. by Downman.
Etymologist 1785— this C. in 3 acts, is merely a
Satire on Steevens, the Reviewers, &c. — it is well
written, but as a Drama it is contemptible.
Swindler by — 1785— this C, in 2 acts, is not a
bad piece on the whole.
Davies, in I786, published a vol. of Comedies—
they were written for a private theatre.
1. News the Malady — ^this C. consists of S acts of
dull dialogue.
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2. Mode — Sir Humphrey Fickle wants to be di-
vorced from his wife — he forms a rascally plan for
that purpose — at the conclusion he is penitent, and
Lady Fickle forgives him - this G. is the best of
tjiese plays.
3. Generous Counterfeit — Sandford and Sophia are
mutually in love — he disguises himself as a German
Physician— this is a poor C.
4. Better late than Never— this is a poor G* — ^the
title is not suited to it — and the 3 Undertakers are
quite caricatures.
5. Man of Honour — the Man of Honour is a
Steward — Nancy and 2 other females go a little way
into the country, on the banks of the Thames — they
are taken prisoners by a band of pirates — ^Nancy is
discovered, tied to a rock, in a lonesome situation
— one of the characters, soon after, says — ^' I see
« St. Paurs."
Disguise I787 C^* ^*) — ^^^^ ^^^ ^^ 3 acts, is
attributed to Jodrell— »it is far from a bad play, but
it would be greatly improved by being reduced to 2
acts.
One and All I787— a moderate F., by Jodrell.
Who's afraid? 1 787— this musical F. is attributed
to Jodrell — it is borrowed in a great degi*ee from the
Gentleman Dancing Master.
What will the Worid say ? 1787— this musical F.
was written by Gillum — it is a poor piece.
Ximenes T. by Stockdale 1788 — this play is void
of plot, incident, and almost every thing which con-
tributes to success in a theatre — even for perusal it
might have been shortened to advantage — as a poem
o 2
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it has great meiit— the pictare which the author has
drawn of Cardinal Ximenes is animated and highly
interesting ~the civil and religious sentiments which
Stockdale has inserted in the play are good— but we
must not suppose that Ximenes entertained these
sentiments^ particularly the latter, to the extent which
he is here represented to have done — Barrett in his
Life of Ximenes says — " Religion was the general
<< motive and rule of his conduct —but it was the reli*
<< gion of the time in which he lived— he had a parti-
** cular veneration for the Queen of Saints — he also
^* paid gi*eat reverence to relics —he maintained the
*' faith by the arms both of the spiritual and secular
" power — ^he never slept in a bed, nor ever wore linen
<< — ^his extraordinary mortifications were so great that
^* the Pope forbade him the continuance of his fasts
<< — he hoped to obtain greater mercy in the next life
" by dying in the habit of St. Francis/'
Father of an only Child — ^acted at New York in
1788— Col. Campbell, in his youth, had been sent
from America to study at Edinburgh — he married
while he was there — his wife died— on his return
home he left his infant son to the care of a friend —
lifler a lapse of years, he had reason to believe that
his son was one of the British Officers killed at the
fight on Bunker's hill— ^his son is really alive --and
Col. Campbell discovers him by means of a ring —
there is a comic underplot— this is so good a Co-
medy, that one is surprised, that it should not have
been brought out on the English Stage, either in its
original shape, or in some alteration — except the
character of Tattle, it has not much claim to origi-
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nality-— we are reminded of Bon Ton, Richard Ccdiir
de Lion, the Conscious Lovers, &c.
Critic upon Critic was printed in 1788 — in the
titlepage it is called a Dramatic Medley, as per-
formed at the Theatres with universal applause — this
is said to be the 2d edition — ^from the plays and farces
alluded to, or mentioned, it is almost certain that
this piece was written in 178O— most or all of the
characters are real persons under fictitious names —
Attic and Tickler are clearly Sheridan and Tickle —
of the authors introduced, Mrs. BuUey and Miss
Flansible are evidently Mrs. Cowley and Miss More
— the scene in the first two acts lies at Attic's house
— in the Sd at D. L. theatre— this satirical piece is
not without some degree of merit.
In 1792 Critic upon Critic was reprinted — as per-
formed at C. 6. — and as written by Leonard Mac-
nally £sq. — this is also called the 2d edition — it con-
tains the following cast — Attic = Quick : Ticklers
Macready: Falstaff=: Ryder : &c. — notwithstanding
all this, I am of opinion that it was never acted— I
have it not in my bills— and from the nature of the
piece it seems clear that it was never meant for re-
presentation—in 1792 all the personal jokes must have
been quite stale — many of the performers are brought
in under the names of their favourite characters —
but what fun could there be in making Attic say to
Byder, as Falstaff, what was applicable to no person
but Henderson ? — &c. — it seems not impossible that
some bookseller in 1792 might affix a new titlepage
and a cast of the play to the old copies of 1788, in
order to sell them.
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Noble Slave I788 — a poor T. by Harieood.
Travellers I78S —a poor C, in 3 acts^ by Lieut.
Harrison— there is however some merit in the cha-
racter of Fossil, the Antiquarian.
Patriot King, or Alfred and Elvida, by Bicknellt
1788— on the whole a poor T.
Cottagers 1 788— as Miss A. Ross was only 15
when she wrote this Comic Op., in 2 acts, it does
her credit — see C. G. May l6 1788.
King in the Country 1789 — ^this piece, in 2 acts,
was written by Waldron— it is professedly taken from
the 1st part of Hey wood's Edward 4th.
Lucky Escape 1 7^9 — this C. was written by Lin-
necar— it has no gross fault, but it is insipid to the
last degree.
Chaubert, or the Misanthrope, 1789 — ^this T. is
well written*- some parts of it have great merit — but
the author would have improved it vastly, if he had
shortened several of the scenes — Chaubert has one
soliloquy of 3 pages.
Man of Enterprise 1789 - a poor F. by Shillito.
Princess of Zanfara 1789— this dramatic poem, in
5 acts, was written to expose the inhumanity of the
slave trade— the plot is better than the language.
Sentimental Mother 1789— this is a malicious and
unjust attack upon Mrs. Piozzi — it consists of 5 acts
of dull dialogue, without plot or incident
English Tavern at Berlin 1789 — this C, in S
short acts, is in a great degree the same piecet as
the Two Pages of Frederick the Great — see C. G.
Dec. 1 1821.
Indians 1790— this T. is attributed to Richardson,
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who was Professor of Humanity at Glasgow — it is
not a bad piece.
Contrast 1790 — this is one of the first American
plays — it is doll, and deficient in incident, but the
character of CoL Manly (particularly when chal-
lenged by Dimple) does the author credit.
Little Freeholder I790 — this F. on the whole is
&r from a bad one.
Trial of Abraham 1790 _ this dramatic poem is
wdl written — but the author has taken too great
liberties with the story*
Fugitives 1791*— this C was written by Roberts —
the comic characters are too farcical — but on the
whole this is very &r from a bad play.
Lindor and Clara, or the British Officer 1791 —
this C. was written by Fennell the actor — some
parts of it are dull — ^but on the whole it is a tolerable
play.
Sir Thomas More 179S — this Tragedy on the
whole does the author considerable credit — many
parts of it are very good, others are dull and unin-
teresting— as the materials were so slender, Hurdis
should have written his play in 3 acts instead of 5.
More was the glory of the age, and his advance-
ment was rather the King's honour than his own —
his superstition seems indeed contemptible, but his
firmness of mind was truly wonderful — More was
about 34 years old when he wrote his Utofpia, in
which he makes it one of his maxims that no man
ought to be punished for his religion — it is not easy
to account for the great change, that we find he was
afterwards wrought up to — he not only set himself
to oppose the Reformation in many treatises, but
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when he was raised up to the chief post in the minis-
try, he became a persecutor even to blood Ovid
has two lines (Epist. 9tb) which characterize More,
and suit him as if they were made for him — they
are upon Hercules —
CcepisH mdiiis guam desinis : ultima primis
Cedunt : dissimiles hie vir et Hie puer.
(Jortin's Life of Erasmus.)
Persecution is a cause full of absurdities, which
all the wit of man cannot defend— and of spots, which
all the water in the ocean cannot wash out. (^Seeker
or Jartin.)
Sir Thomas More's father said, ** the choice of
** taking a wife is like as if a blind man should put
** his hand into a bag full of snakes and eels together
« — seven snakes to one eel*' (Life of Jlfor^.)— this
observation is introduced in the play, but it is intro^
duced in a bungling manner.
Zapphira T. in 3 acts 179^ — on the whole a poor
play.
Village Maid 1792 — this Opera, in 3 long acts,
was written by a Young Lady— it is very &r from a
bad piece.
Modem Comedy, or It is all a Farce 1792 — this
is called a Dramatic Afterpiece, in 3 acts — the
author seems to have aimed at rivalling the Re-
hearsal and Critic, but he has totally failed.
Narcotic and Private Theatricals — these two
Farces were written by Powell, and published to-
gether, but without a date — the Editor of the B. D«
says in I787 — this must be wrong, as in Private
Theatricals the Dramatist (1789) is quoted, and the
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Road to Ruin (179S) is mentioned — for the plot of
the Narcotic, see Sleeping Draught D. L, April 1
1818.
Private Theatricals — this attempt to ridicule Pri-
vate Theatricals, is not so well executed as it might
have been, but on the whole this F. is not a very bad
one.
Mary Queen of Scots, an historical T. by Mrs.
Deverell 1799 — this is a poor play, particularly in
point of language.
Ransom of Manilla by Lee, 179S —a poor piece
both as to plot and language.
Coventry Act— a moderate C, in S acts, by
Plumptre.
Four plays, founded on the French Revolution,
were printed in 1793 and 1794— viz. Democratic
Rage by Preston — Maid of Normandy by Eyre —
Count de Villeroi by • • and Captive Monarch
by Hey.
Leicester by Dunlap 1794 — ^this is said to be the
first American Tragedy produced upon the stage —
with all its faults it is far from being a bad play.
Consequences, or the School for Prejudice I794--
an indifferent C, in 3 acts, by Eyre.
Coalition, or the Opera Rehearsed 1794— C. in 3
acts by the Editor of the Spiritual Quixote — that is,
the Rev. Richard Graves of Claverton near Bath —
this piece has no great merit, but it is evidently the
production of a man of genius and sense.
Philoctetes in Lemnos 1795 — a contemptible
Drama, in 3 acts.
Whim, C. in 3 acts, by l.ady Wallace 1795— her
Ladyship intended to have had this play represented
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with a view of giving the emolument from it to the poor
of the Isle of Thanet — but this benevolent purpose
was frustrated by Mr. Larpent the Licenser — the
Manager of the theatre at Margate, having received
a letter to inform him, that it had been presented to
Mr. Larpent, and that it would be licensed on the
following Monday, announced it for representation
— ^the house overflowed, but the performance did not
take place, as Mr. Larpent had by that time disco-
vered, that there were exceptionable political sen-
timents contained in it— Lady Wallace immediately
wrote to the Lord Chamberlain, from whom she
received a civil answer, but no redress — ^in her pre-
face she vindicates herself from the arbitrary and
unjust aspersions of the Licenser, whose conduct on
this, and on some other occasions, it would not be
easy to reprobate in stronger terms than it deserves
— in the 1st scene of the 2d act Fag says to Nell-*
<* Why faith, Nell you have a great fault, as times go
« — you know, old women are quite the fashion —
*< you are too young— But, egad, I shall please myself
<< — I shall ever prefer the symmetry of Venus, and
<< the rosy health of young Hebe, to all the fat Forties
*< of fashion''— this alluded so plainly to the oon«
nexion between a great person and a lady, who was
commonly called *< fat, fair and forty," that it was
impossible to mistake it-- it was in all probability
this speech which the Licenser was reaU^ afraid to
license, but he did not think it prudent to say so^
as that would have been allowing the force of the
application— Lady Wallace would have done better
if she had omitted this speech and perhaps one or
two more, but there was certainly nothing that could
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at all wan-ant Mr. Larpent in objecting to the whole
piece*
As to the play itself— Lord Crotchet is so fond
of antiquity that he determines to revive the Satur-
nalia for one day — Fag is made Master of the fa*
mily, and Nell, Mistress — Lord Crotchet assumes
the character of the cook — and his daughter Julia,
that of Nell's maid— Fag gives Julia to Captain Bel-
grave» who is in love with her — Lord Crotchet at
first objects— Fag insists that his authority is para-
mount—Lord Crotchet consents— Lord Crotchet's
Whim is extravagant, but on the whole this piece
is far from a bad one— it is most unjustly stigma-
tized by the Editor of the B. D. as a strange jum-
ble of nonsense and vulgarity.
Roses, or King Henry the 6th, represented at
Reading School 1795.
Emigrant in London 1795— this C. is printed in
French and English — it was written by an Emigrant,
whose praises of the English would have been better,
if they had not been carried too far — on the whole
this is not a bad play.
Seaman's Return 1795— an Operatic Farce, in 3
acts, by Price.
American Indian 1795— this play, in 3 acts, is not
a bad one — but some parts of it are dull— and the
language is not sufficiently simple.
Gallant Moriscoes, or the Robbers of the Pyi*enees
1795 — the unknown author of this play seems to
have been a man of some genius, but of little
judgment.
All in a Bustle — this poor C. was written by La-
thom— the first edition is said to have been printed
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in 1795— the second edition was printed in 1800
(not in London, as the Editor of the B. D. says, but)
at Norwich.
Sicih'an Lover I796 — this is a moderate T. by Mrs.
Robinson, formerly of D. L. — the language is some-
times very good, but in general rather florid and fan-
ciful than natural — the plot is not well managed.
Generous Attachment I796— a moderate C. by
Smythe.
Picture, or My own Choice 1796 — this C. is not
without some degree of merit.
Cottage 1796 (B. D.J — a moderate Opera, in
2 acts.
Contrariety I796— this Farce has not much to re-
commend it.
Vortimer, or the True Patriot I796— this T. was
written by Portal— there are some good passages in
it, but on the whole it is a dull play.
Inez 1796— this T. is attributed to Dr. Symmonds
— the author of it was evidently a man of abilities,
but not conversant with the stage.
Fiesco, or the Genoese Conspiracy I796— this T. is
translated from the German of Schiller — ^for the his-
tory on which it is founded, see the end of the 8th
book of Robertson's Charles the 5th — this is on the
whole a fine T.
Edwin and Angelina, or the Banditti 1797 — this
Opera, in 3 acts, was written by Smith, and acted
at New York — it is professedly founded on Gold-
smith's ballad of Edwin and Angelina— they however
are not the two principal characters.
No Cure no Pay, or the Pharmacopolist 1794
CB. 2>.^— this musical Farce, by Rowe, was meant
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as a iSatire on Qaacks — in this point of view it has
some merit — as a Drama it is contemptible.
The Times, or a Fig for Invasion 1797— a poor
piece.
Virgin Qaeen, a Drama in 5 acts, attempted as a
Seqaelto the Tempest, 1797— this is a bad imitation
of Shakspeare by Waldron.
Utrum Horam, C. in 2 acts, as now acting, with
great applause, at the respective theatres of Lon-
don and Amsterdam 1797— this is a moderate piece
by an anonymous author — see the Orphans 1800.
Fatal Sisters, or the Castle of the Forest 1797—
this play was written by £}Te — the persons who give
the let title to this piece are Megsera, Tisiphone, and
Alecto — they are introduced, in modern times and in
Spain, with peculiar absurdity, as they do not con-
tribute to the conduct of the play — on the whole
this is a poor piece.
Forester, or the Royal Seat — Drama in 5 acts by
Bayley 1798~the scene lies in Arcadia — ^the man-
ners are any thing but Arcadian— the diali^e is as
complete a jumble as was ever written — one instance
may suffice — the Hunters (p. 26) drink a health to
Diana _ at the distance of only 3 lines Curiam
says —
<< Celebrate your royal patron, as becomes
" Christians:'
Courage Rewarded, or the English Volunteer
1798 — the author of this political Drama was utterly
destitute of judgment— his zeal has betrayed him
into the grossest absurdities.
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Natalia and Menzikof, or the Conspiracy against
Peter the Great, translated from the German of
Kratter, 1798— the Emperour of Russia treats Men-
zikof on the footing of private friendship — Menzikof
is in love with Natalia, the daughter of the chief con «
spirator — in a moment of partial intoxication, and
by means of a forged letter, he is induced to sign
the confederation against Peter— he repents — rescues
the Emperour from the conspirators, and receives
his foi^veness — Natalia is tried for the conspiracy —
a treasonable paper is shown to her, and she is asked
if the signature be hers— she acknowledges it, but
does not say, as she naturally ought to have said,
that when she signed the paper, she supposed she
was signing a marriage contract— she is on the point
of being executed, but is saved by a bungling con-
trivance— the play ends happily — Menzikof's con-
duct in the last two acts is disgusting — he not only
requests the Emperour not to pardon Natalia, but
actually signs the warrant for her death-^on the
whole the merits of this T. overbalance its faults-
Maid of Marienbergy a serious play translated
from the German of Kratter, 1798 -this is a sort
of second part to Natalia and Menzikof— they are
however but subordinate characters— the principal
person of the Drama is Chatinka, the Maid of
Marienberg, who, at the conclusion, is married to
the Emperour— some of the scenes of this play
are interesting, others are dull — it is in part his-
torical— Guthrie says — " Peter the Great at last
<< married, by the name of Catharine, a young
** Lithuanian woman, who had been betrothed to a
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*< Swedish soldier, because after long cohabitation, he
'* found her possessed of a soul formed to execute his
"plans, and to assist his counsels — Catharine was so
"much a stranger to her own country, that her hus-
"band afterwards discovered her brother, who served
" as a common soldier in his armies — Peter ordered
"bis wife Catharine to be recognised as his successor
" — she accordingly mounted theRussian throne, and
"was herself succeeded by Peter the 2d— many do-
" mestic revolutions happened in Russia during his
" short reign, but none was more remarkable than the
" disgrace and exile of Prince Menzikof, the favourite
" general in the two preceding reigns, and esteemed
"the richest subject in Europe" in Kratter's
play Chatinka or Catharine is perfectly chaste — her
fadier and brother are two of the D. P. — the former
is represented as the Pastor of Marienberg, and the
latter as a young man of abilities, and not as a com-
mon soldier.
Stranger — C. freely translated fi-om the German
of Kotzebue by S— k 1798 — the characters are im-
properly made English instead of German.
Lakers 1798 — this is a comic Op., in 3 acts — by
the Lakers are meant persons who visit the lakes in
Cumberland and Westmoreland — AJiss Beccabunga
Veronica, a female botanist, is a very good character
—there is also some merit in the parts of Bob Kiddy,
and the two pedestrian tourists — the rest of the piece
is bad.
Stella, translated from the German of Goethe,
1798 — the plot is disgusting, and there is nothing
particularly striking in the dialogue, or conduct of
the piece— the English reader is not obliged to the
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translator — let the Germans keep such plays to them-
selves.
Adelaide of Wulfingen,T. in 4 acts, translated firom
the German of Kotzebue by Thompson, 1798 — Sir
Hugo returns from the Crusades after an absence of
23 years— he finds his son. Sir Theobald, married to
Adelaide, his natural daughter, whom he had chained
Bertram to bring up as his own child — Adelaide in a
fit of frenzy kills her two sons — the catastrophe is
defective, as the fate of Sir Hugo and Sir Theobald
is left in uncertainty besides it is unnatural for
Adelaide to go out of her senses — she had not the
most distant notion that she had been living in incest
— ^and when she was told of it, it would have been
quite sufficient for her to have left her husband and
children, and to have gone into a cloister Ber-
tram, who had been absent from his own countiy for 8
years, is shocked when he finds to whom Adelaide is
married — he explains the circumstance to Sir Hugo
— Sir Hugo (at first starts — the muscles of his face,
for some moments, express an inward struggle, which,
however, soon subsides — that serenity^ which ever ac^
companies fimUt/^ooted principles^ resumes its place
in his countenance, and he turns to Bertram)** Well I
" Proceed.
Bertram. Proceed I Pardon me, Sir Knight — an-
guish has robbed you of your senses, or you have not
understood me.
Sir Hugo. Nor one, nor the other. I am still
waiting for your dreadful story.
Bertram. Is not this dreadful enough ? your son,
the husband of your daughter — your grandsons
sprung from incest I
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Sir Hugo. What mischief can ensue from this
connexion ? Two hearts, attached by a double tie,
what increase can their Iove» their happiness admit ?
a mother by a brother— are not the children still more
precious ? are not the parents still more enviable f J
Another scene, so execrable as this, was perhaps
never written on the Continent with a view to repre-
sentation— and in England we have nothing that ap-
proaches towards it— how differently does Walpole
treat a similar story in his Mysterious Mother !
Mysterious Marriage, or the Heirship of Roselva
1798 — this is a moderate play, in 3 acts, by Miss
Harriet Lee — the title is wrong, the marriage be-
tween Albert and Constantia is secret, but it is not
mysterious.
Inquisitor— this T. was written by Pye and J. P.
Andrews — the dedication is dated June 28 1798 —
that is 5 days after Holcroft's Inquisitor had been
brought out at the Hay. — both the English plays are
founded on the same German piece.
Poverty and Wealth 1799 — on the whole this is a
pretly good C. of a serious cast — it was translated
from the Danish by Wilson.
Corsicans 1799 — this Drama, in 4 acts, is trans-
lated from Kotzebue — it is supposed to take place in
the first half of the 18th century— the Count is a
Hungarian nobleman, the father of Francis and Na-
talia— ^Francis is a captain in the Imperial service —
he had married Ottilia, who was brought up from a
child in France — Wacker is the Count's steward —
Wacker's son, Felix, had saved Natalia's life at the
extreme hazard of his own — at the opening of the
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play, he is just recovered from the wounds which he
bad received — Felix had fallen in love with Natalia
— ^he finds that she is in love with him, and thinks
himself bound in honour to leave the neighbourhood
of the Count's house — Natalia is informed of his in-
tention, and enjoins him to meet her at night — she
is prevented from going to the place of appointment
-^ and requests Ottilia to meet Felix — Ottilia had
come to the Count's since the illness of Felix — she
now sees him for the first time — and knows him to
be her brother — she learns from him that Wacker is
her father — just at this moment Francis returns
home— he sees Felix embrace Ottilia and draws his
sword — Felix says Ottilia is his sister — Ottilia im-
plores her father's pardon for having married with-
out his consent — she obtains it, but with difficulty —
Wacker is in reality Count Fompiliani— he had been
driven from Corsica by the Genoese — in the last
scene he is told that the Corsicans had beaten the
Genoese — ^he determines to die in his native country
— Felix and Natalia are united— this is an interesting
play.
Henry 2nd by W. H. Ireland 1799 --this is a poor
play on the whole, but some parts of it are well
written — the author has misrepresented several his-
torical facts— at p. 75 the ELing mentions Richard
as his eldest son — << my eldest born" such gross
ignorance was perhaps never displayed by any other
person who has attempted to write a historical play.
Discarded Secretaiy, or the Mysterious Chonis>
an historical play, in 3 acts, by Eyre the actor 1799
— the person who gives the 1st title to this piece is
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Davison, the Secretary whom Queen Elizabeth dis-
carded— there is some degree of merit in bis cha-
racter— but on the whole this is a poor production.
Jason 1799 — this T., or rather play, was written
by Glover — it is a sequel to his Medea — the whole
of the plot seems to be fiction — Jason had become
penitent for his ingratitude and perfidy to Medea —
be had wandered about, under the assumed name of
Melampus, for 3 years, till he came to a castle near
Mount Caucasus and the Caspian sea, where the
scene lies — Orontes is the king of the country, or as
he calls himselfi the king of kings— be had deserted
Gassandane, and fallen in love with the Enchantress
who resides in the castle — Orontes is attacked by a
hoDj and rescued by Melampus — Melampus swears
to assist Orontes in his love for the Enchantress —
Melampus is attended by a Colchian, who is versed
in magic, but whose power is inferiour to that of the
Enchantress— he furnishes Melampus with a super-
natural spear — the battlements of the castle fall at
the touch of the spear — a Centaur, &c. vanish- the
Enchantress appears to Melampus — Melampus re-
mains undaunted, till a mirror represents to him the
^^nre of Medea killing her children — Melampus in
consternation and horror lets fall the shield and
spear — in the 5th act, the Enchantress again appears
to Melampus — she discovers herself to be Medea,
and rushes into his arms — still there is an impedi-
ment to their re-union — Orontes refuses to release
Melampus from his oath — Medea changes a garden
to the infernal regions, and assures Orontes that
nothing can set him free, till he renews his broken
faith — Orontes reconciles himself to Cassandane, and
p 2
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the piece ends happily — in the course of it the Genius
of Caucasus sings several songs — Jason on the whole
does the author great credit — it is written precisely
on the plan of the serious Operas introduced on the
stage in the time of Charles the 2d — it is very supe-
riour to any piece in that line, except King Arthur
— the Editor says in his preface—" this T. was pre-
" sented by the author, many years previous to his
" death to Mrs. Yates, but owing to the grandeur of
" the scenery, and the expense required to bring it for-
" ward it was altogether laid aside — and it has since
" that period been offered to the managers of both
" theatres, who still have the same objection" — the
managers cannot justly be blamed for their caution
— the expense of producing Jason, with suitable ma-
chinery and scenery, must have been very great —
success would have been uncertain at p. I7 the
Colchian says —
** Snatch'd from our sight by necromantic
power.'*
Glover and other writers of reputation have used
the word necromantic as synonymous with magic —
but necromancy is properly only a particular species
of enchantment— not enchantment in general.
Andre — this T. was written by Dunlap, and acted
at New York — it was published in London in 1799
— it is founded on the story of the unfortunate Major
Andre, who was hanged for a spy in the American
war— to dramatize so recent an event was an ardu-
ous undertaking, and Dunlap has succeeded very
well on the whole, tho' certainly the piece is by no
means without faults — he has been happy in the ad<
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ditions, which he has made to the story — and addi-
tions were iDdispensibly necessary — the language is at
times very good, but frequently harsh, and not suffici-
ently easy for the characters — surely prose would
haye been more suitable to the subject — there is a
happy simile in the 4th act, but it would have been
better in the mouth of the sententious Macdonald,
than the impassioned Mrs. Bland — Bland is so con-
siderable a part, that Major Andre is scarcely the
hero of the piece.
The scene lies in the village of Tappan, and in
the adjoining country — most of the characters are
Americans — in the 2d act, Andre is discovered in
prison — ^he and Bland are particular friends — Bland
intercedes warmly with the General in Andre's favour
— the General is fully sensible of Andre's private
virtues, but refuses to reverse the sentence — Bland
is so offended, that he throws up his commission in
the American army — the General afterwards over-
looks Bland's impetuosity, and restores his commis-
sion to him — an English lady, who is betrothed to
Andre arrives in the American Camp— a scene takes
place between her and Andr6— and another between
her and the General — the General is much affected
with her distress — at this moment information is
brought to him that an American officer had been
hanged by the English— the General no longer hesi-
tates — at the conclusion, a procession to the execu-
tion of Andr6 passes over the stage — a cannon is
fired as the signal of Andre's death — Bland throws
himself on the ground, and the curtain drops — Dun-
lap has done full justice to the character of Major
^dr6 — Washington is not mentioned by name —
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he is only called the General — but when Danlap
altered his piece to the Glory of Columbia (see 1817)
he made General Washington one of the D. P.
True Patriotism, or Poverty ennobled by Virtue
1799 — it seldom happens that so bad a play as
this is printed.
Peevish Man 1799 — this Drama» in 4 acts, was
written by Kotzebue, and translated by Ludger —
Herman Edelshield had retired from an active situa-
tion to his house in the country — his brother and
sister — Toby and Ulrica — live with him — he is a
good man in all points of importance, but makes
every body about him uncomfortable, by quarrelling
with them for trifles — he wants his daughter, The-
resa, to marry Col. Hammer — she is in love with
Lieut Orphan— he is in love with her — she agrees
to give her hand to Col. Hammer, if he can get a
ring from Orphan, which she had given him, and
which she feels assured he would never part from —
when Hammer and Orphan meet. Orphan imme-
diately knows him to be his father — Hammer at first
does not know Orphan to be his son -— Orphan is
prevailed on to resign the ring — Theresa, on seeing
the ring, is highly offended with Orphan, till she
learns that he is Hammer's son — Herman presses
his daughter to marry CoL Hammer— she demurs —
Herman becomes so peevish, that he not only quar-
rels with his brother and sister, but also with the
Colonel — in the last act, Toby and Ulrica prepare to
leave Herman's house — Herman prevails on them to
continue with him — he promises his daughter to
young Hammer — and the piece concludes to the sa-
tisfaction of every body but of Col. Hammer — this is
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said to be Kotzebue's last production — it is on the
whole a good play — Col. Hammer is the best cha-
racter— he is an unfeeling, illiterate nobleman, who
considers almost every thing that is wrong, as the
conseqaence of reading.
Streanshall Abbey, or the Danish Invasion ~. this
T. was written by Gibson — and acted at Whitby
Dec 2 1799 — on the whole it is a moderate Play— .
Gibson, in an advertisement to the 2d edition, ob-
serves — '* no labour is more irksome than the task
^* of revision" — no labour however is more necessary
—Horace says —
Carmen reprehendite^ quod rum
Mtdta dies et muUa litura coercuit^ atque
Perfectum decies non casHgavit ad ungutm.
Gortz of Berlingen with the Iron Hand— this play
was'written by Goethe— it was published in Germany
aboat 1771 -^ and translated in 1799 — Goethe has
probably given a faithful representation of the man-
Ders of the Idth Century — his play is popular iq
Germany, but it is not particularly well calculated to
please an English reader.
Force of Calumny, translated from Kotzebue by
Anne Plumptre 1799 — this is a good play^— the dia-
logue is well written, but some of the scenes might
be shortened to advantage— the moral is excellent-*
Smith observes p. 9*3 — '* The ears of mankind are
^ always open for the reception of slander, but are
<< too often inflexibly closed against all attempts at its
*« refutation.''
False Shame, translated from Kotzebue, 1799 —
uiother translation of this play was made in 1800 —
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see False Delicacy — Flotarch says that the younger
Cato frequently appeared in public without his tu-
nick and sandals — not frons any affectation of
singularity, but that he might accustom himself
not to be ashamed of any thing, but what was really
shameful.
Happy Family, translated from the German by
Thompson 1799 — this is not only an interesting,
but a pleasing Drama — it has none of those
circumstances, which sometimes disgust one in
Kotzebue's plays, notwithstanding their general
merit.
Lawyers, translated from the German of Ifl9and
by Ludger 1799 — this is on the whole a tolerably
good play.
Bachelors, translated from the German of Iffland
1799 — ' the plot of this C. is silly — the language is
natural.
School for Honour 1799— see Hay. July 24 1786-
Edmond, Orphan of the Castle 1799 — this T. is
professedly founded on a Gothic story, called the
Old English Baron — the original story is very inter-
esting— ^the play is bad.
Noble Lie 1799 — this piece, in one long act, is
translated from the German of Kotzebue — it is a
Sequel to the Stranger — Kotzebue's piece is in*
teresting, but profane — there is something so mean
in lying, that a Lie can never be Noble — Horace
says — Splendid^ mendax, et in omne virgo nohUis
tevum — but he uses the words in a sense very differ-
ent from thatof Kotzebue— Hypermnestra promised
her father to kill her husband, but instead of
doing so, she suffered him to make his escape —
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Horace properly oommeDds her for breaking a
promise, which her father had no right to exact from
her.
Dagobert, King of the Franks, translated from the
German of Babo 1800 — ten years before the play
b^ns, Grimbald had deposed Dagobert, and placed
his own son Childebert on the throne — Dagobert
was generally supposed to be dead — on his return
home, he hears a herald proclaim the intended mar-
riage of his Queen, Adelgunda, with Childebert, to
which she had reluctantly consented— Dagobert dis-
covers himself to her — he is sent to prison by Grim-
bald-4ie recovers his liberty — Grimbald is killed, and
Childebert resigns the crown to Dagobert — in the
mean time Adelgunda is stabbed by one of Grim-
bald's soldiers— she dies — Ada, the daughter of Da-
gobert and Adelgunda is united to Childebert, who,
with good intentions, had only been made the tool of
his father— this is an interesting T. — it seems liable
to one serious objection — Childebert is about to
marry Adelgunda, for whom he has no regard, in-
stead of marrying Ada, whom he likes ; tho' a mar-
riage with the latter would have suited his father's
political views quite as well — the author seems to
have adopted a different plan for the sake of repre-
senting Dagobert as inflamed with jealousy against
his Queen.
Orphans, or Generous Lovers, Opera in 3 acts,
by Capt. Shepherd 1800 — on the whole this piece
is good enough for an Opera — a considerable
part of it is taken verbatim from Utrum Horum
— it is highly probable that Utrum Horum was
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written by Capt Shepherd — othenHee we mast
consider him as gailty of gross plagiarism.
Otto of Wittelsbach, or the Choleric Count, trans-
lated from the German of Babo by Thompson 1800
— before the play begins, Philip of Soabia had been
elected Emperor of Germany — he had maintained
himself against his competitor chiefly by the assistance
of Otto — notwithstanding this circumstance, and the
jMivate friendship which had subsisted between them,
he treats Otto with ingratitude and duplicity Otto
first reproaches him in the strongest manner, and
then murders him in a fit of passion — Otto is pat
under the ban of the empire his castle is rased to
the ground — and he is himself killed, but in a cow-
ardly manner, and by a private enemy this is an
animated and interesting T. — but an unpleasing sen-
sation is excited — ^we are compelled to respect Otto
for his many good qualities, and to detest him as a
murderer.
Ensign translated from the German of Schroeder
by Thompson 1800— this is an interesting C, in 9
acts— but one part of the plot is improbable«-4h6
Ensign has given his mother a promise upon oath
never to own her as such — Baron V<m Harrwis in
his early life had seduced Caroline after having been
contracted to her — he then deserted her — at the
opening of the play we find him somewhat disor-
dered in his head — ^this arises chiefly from the re-
morse which he feels on Caroline's account^n one of
his fits of absence of mind, he pockets a napkin and
spoon-- the Ensign is unjustly suspected of having
stolen them — the Baron to make him amends oS&n
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bim the hand of his daughter, which is gladly ao*
cepted — ^it is known that the Ensign has a strong
attachment to some female, but as a mystery is made
about it» it is supposed that she is either his mistress
or his wift, instead of his mother— a violent quarrel
ensues between the Baron and the Ensign — at last it
i^pears, that the Ensign's mother is Caroline, and
that he is consequently the Baron's son — Sophia
turns out to be only the adopted daughter of the
Baron.
Count Koenigsmark translatedTrom the German
of Reitzenstein by Thompson 1800 — Countess Ame-
lia, the mistress of Duke Orlathal, is a woman of
violent passions, but not without some good qualities
—she falls in love with the Count, and engages him
to make her a private visit — he escapes from her
blandishments, by contriving to have a false alarm
given that the Duke is coming — the Count is pri-
vately in love with the Duchess, but virtuously — the
Duchess finding that the Duke has most unjustly de-
termined to imprison her for life, at last consents to
make her escape with the Count, whom she had
knovFn from her childhood — Amelia, in a fit of jea-
lousy» brings the Duke to the apartment of the
Duchess, where the Count is found— he is killed by
the guards — the Duchess proves her innocence,] and
is carried off in despair — Amelia kills herself— the
Duke, who is a brute, goes unpunished this is on
the whole a good play, but some of the scenes are of
a tiresome length, and the catastrophe is by no means
Tournament by Mrs* Starke 1800~.one or two
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things in this piece are improbable, but on the whole
it is an -interesting T.
Zuma 1800 — this T., in 5 short acts, was written
in French by Le Fevre, and translated by Rodd — the
plot is very improbable — the language of the trans-
lated play is very bad.
Crime from Ambition, translated from the Ger^
man of Iffland by Maria Geisweiler 1800 — ^this plaj
is not without some degree of merit, but no one o
the principal characters either pleases or interests
one.
Siege of Cuzco by Sotheby 1800— this is far from
a bad play, but it does not much interest the reader.
Two Friends, or the Liverpool Merchant— this is
an indifferent play — it was translated from the
French of Beaumarchais by C. H. in 1800 — the
scene lies at Liverpool, and all the characters (ex-
cept a valet) are English — but the manners are
French— the importance attached to dress is truly
ridiculous — Melac, who in the D. P. is described as
a philosopher, gives his son a jobation for appearing
before Pauline with his hair in a comb—the young
man pleads that he and Pauline had been brought
up together, and that she herself was in a disha-
bille— the father will not allow this to be a sufficient
excuse — St Alban on his 1st entrance makes an
apology for being in a travelling dress — in the 5th
act he is particularly directed by the author to be full
dressed — the Exchequer is spoken of, not as an
Office, but as a Company.
False Delicacy, translated from the German by
Thompson, 1800— -this is a good play — the drift of
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It is to expose the evils which result from False De-
licacy.
Cooscience — a Tragedy translated from the Ger-
mioi of Iffland by Thompson, 1800 — this is a good
and Interesting play— there is nothing tragic in it,
except the death of Talland.
Step-mother 1800— the scene lies in Poland—
Count Casimir had fallen in love with Louisa, who
was contracted to his son Frederick — at the opening
of the play, Frederick returns home, after having
served in the war against the Turks— the Count
writes a letter to Louisa in which he invites her to
elope with him, and threatens her, if she should
refuse — Louisa judges it prudent not to shew Fre-
derick the letter — the Countess is Casimir's second
wife — Henry, Count of Bosinia, is her confederate
— he puts into her hands the Count's will — she is
justly offended that her husband had only left her a
pittance — she learns from Henry, that according to
the laws of Poland, if her husband should die intes-
tate, her own large fortune would revert to her
again — she destroys the will, and determines that
the Count should never have it in his power to make
another — for this purpose, she writes a letter to
the County in the name of Louisa, and with an ap-
pointment to meet her near the pavilion — she appoints
Louisa to confer with her in private at the same time
and place— she makes Frederick believe that Louisa
is in the habit of meeting Stanislaus near the pavi-
lion— in the dusk of the evening the Count and
Louisa meet— Frederick enters— the father and son
kill one another— each of them not knowiug who
the other is — Henry declares that the Countess had
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contrired the murden— Louisa tiirows herself on
Frederick's dead body, and the curtain falls this
T. was written by the Earl of Carlisle — on the whole
it does him considerable credit — the 1st scene of
the 3d act, between the Countess and Henry, has
singular merit— the comic part of Peres is written
in a very pleasing manner— there is little incident
till the last scene — ^the author has absurdly intro-
duced certain supernatural beings, whom he calls
the Fatal Sisters of the North — if they had been
omitted, and the play reduced to 3 acts, it would
have been greatly improved.
Ignez de Castro, a Portuguese Tragedy, in S
acts, written by Don Domingo Quita, and translated
by Thompson^ 1800 — this little T. is a pleasing
piece, and much more interesting than Mallefs El-
vira, or Inez printed in 1796> both of which are
founded on the same story.
Mutius Scsevola, or the Roman Patriot, 1801—
this dull T. was written by W. H. Ireland.
Philanthropist 1801 — a poor play by Jones.
Curiosity 1801 — this C, in 3 acts, was taken from
Madame Genlis, and adapted to the English stage
by Lathom — it had been acted at Norwich-^-Donna
Isabella has 3 children— Frederick, Sophia, and Pau-
lina— Sophia is discreet — Paulina is extremely curioas
— Frederick had fought a duel with Antonio, the
son of Don Sebastian — both of them were wounded
— and each of them supposes that he has killed bis
antagonist — Frederick is concealed in his mother's
castle — Isabella entrusts Sophia and Constantia,
who is her niece, with the secret — ^but each of them
conceals it carefully from Paulina^Paulina perceives
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that there is a seoret, and is very desirous to find it
cot— she and Rose, a servant, open a letter which is
directed to Sophia — Paulina, who is as commonica-
tive as curious, tells Don Sebastian that the Count
di Parma is concealed in the castle— she has no sus-
picion that her brother had assumed the name of the
Count di Parma — Don Sebastian goes for an Algua-
zil— Paulina is shocked, when she finds that she has
endangwed her brother's life— Don Sebastian makes
the Alguazil seiaee a person who enters with a sus-
picious appearance— -he proves to be Antonio — all
difficulties are now at an end— Frederick and An-
tonio marry Constantia and Sophia— this is a good
piece — considerably better than Madame Genlis' —
the moral is excellent — an idle curiosity is not so
venial a fault as some persons imagine.
Female Jacobin-Club 1801 — this political C, in
one act, was translated from the German of Kotze-
hue by Siber — it has on the whole considerable merit
—but unfortunately the scene which ought to have
been the best, (that of the Club) is the worst.
Henry and Almeria — a poor T. by Birrell 1802.
Merchant of Venice, as altered from Shakspeare,
and acted at Reading School, was printed in 1802 —
Dr. Valpy says in his advertisement that the liberty
of altering Shakspeare has not only been exercised,
bat justified and applauded inDryden, Tate, Cibber,
Garridc and Colman— the liberty of altering Shaks-
peare ad libitum has always been reprobated by the
best critics, and the true friends of Shakspeare— i»
^ntitan libertas excidit.
Trip to B^igal, by Smith, l80S-*a poor F. with
songs.
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Dr. Delap in 1803 published 4 Tragedies.
1. Gunilda— this play on the whole does the
author credit— the plot of the TrachiniaB of So-
phocles is so fabulous, that one would hardly have
supposed it possible to adapt it to the modem stage
— yet Delap has done this very skilfully, till he
comes to the catastrophe — in more instances than
one he has translated the original words ^^Ua,
the King of Bernicia, and the husband of Gunilda,
had been engaged in a war with the Cimbrians — ^he
had been so long absent as to occasion much un-
easiness to his wife— at last he is announced as
being on his return — Elgiva and other captives kte
brought in— the Queen becomes acquainted with
her husband's passion for Elgiva— she sends him,
by their son, what she supposes to be a philter — she
is informed that it was a poison and is reduced to
a state of despair— we expect her to act as Deianira
does under the same circumstances, instead of
which we are told that ^lla is murdered, but with-
out having swallowed the poison — the conclusion is
flat— Delap should have ended his play nearly as
Sophocles does— Gunilda is so superstitious as to
believe in incantations, spells, &c. — in other respects
she is a sensible woman — this is by no means unna-
tural, if we consider the time in which she is sup-
posed to have lived — the kingdom of Northumberland
was divided into two parts, the northern part of which
was called Bernicia. (JRapin.)
2. Usurper. Lynceus rebels against Thoas king of
Calydon, usurps his throne, and puts him to deaUi—
the Usurper wishes to secure himself in his power
by marrying Eucharis the daughter of Thoas— she is
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privately married to Alcmeon and has a child by him
— the child is under the care of the Priest of the
Temple, and to all appearance in perfect safety, as
Lynceos could have no motive for killing an unknown
child — but the author, to increase the distress of the
story, makes Eucharis act in a very improbable
manner — she attempts to escape with her child, and
by so doing she involves him in the greatest danger
— Lynceus is killed and the play ends happily — this
T. has little to recommend it — ^the incidents are re*
mote from common life, and consequently unaffect*
ing — the plot seems to be entirely fiction, as there
are no traces of it in Pausanias Dunlap not only
uses the modern expression ** Madam/' but makes
one of the character say, p. 100, ** Fair as Young
** Flora'' — an officer in Calydon could not possibly
know any thing about Flora.
3. Matilda— Adelfrid had killed the king of Nor-
thumberland and usurped his throne— he fixes a
price on the head of Edwin the son of the late king
— at the opening of the play, Edwin rescues Matilda,
the daughter of Redwald king of the East Angles,
from some ruffians who had seized her — Redwald is
grateful for his daughter's deliverance, but his grati-
tude is checked by the artifices of his minister, Os-
wald— Edwin and Matilda are mutually in Iove~at
the conclusion Edwin kills Adelfrid, and is united to
Alatilda — Adelfrid is not one of the D. P.- the
story of this T. is too simple for 5 acts, but the
play on the whole pleases.
4. Abdalla— the scene of this T. lies in Antigua —
about the time when the abolition of the slave trade
began to be agitated in the British House of Ck>mmons
VOL. X. Q
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— many parts of it are well written, but on the whole
it can hardly be considered as a good play.
Phantoms, or the Irishman in England, 1803—
this Farce has not much to recommend it.
Buonaparte, or the Free-booter, 1803 — a poor
Drama by Ripon.
Wife of a Million 1803 (B. 2).)— an indifiFerent
C. by Lathom.
Sea Side Hero 1801— this Drama, in 3 acts, was
written by Carr.
Every Day Characters 1805— this Satirical Comedy,
(as it is called) with the appendages, consists of
195 pages in rather a smaU type — some good observa*
tions occur, but as a Drama it has not much to re-
commend it.
Honest Soldier 1805 (jB. D.)—vn indifferent C.
by
Confined in Vain, by Jones, 1805 — this is far
from a bad Farce.
Custom's Fallacy, a Dramatic Sketch, in 3 long
acts, by a Gentleman of Lincoln's Inn, 1805 — there
are faults in this piece — but the dialogue is well
written, and on the whole it does the author credit
— his object was to point out Custom's Fallacy witb
regard to females, who have been guilty of error, but
not of vice.
Drunkard 1805'-thi8 Farce, in 2 acts, is printed
in German and English — the main incidents of it
have the strongest resemblance to the Induction to
the Taming of the Shrew.
Socrates, by Becket, 1806 — some passages are
very well written, but on the whole this is a poor
play.
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Fall of the Mogul, by Maurice, 1806 — this T.,
with the exception of the love scenes, is historical —
it is far from a bad play.
FaU of Mortimer, T. by Lord Rokeby, 1806 — a
very poor play.
Alfred and Emma 1806 — this play is professedly
founded on the Red Cross Knights of Kotzebue —
the scene lies in the Christian camp before Nicaea in
10979 and in an adjacent convent of nuns — Alfred,
an English Knight, falls into the hands of the Sara*
cens — Emma, his betrothed wife, comes in search of
him, in the disguise of a pilgrim — having reason to
believe him dead, she takes refuge in the convent and
turns nun — Alfred, soon after that he is ransomed,
fights with Edmmid in defence of a Saracen Emir
and his daughter — he defeats his antagonist, but is
wounded in the right arm — he goes to the convent
to be cured — Emma is sent to him with a balsam for
his wound — she knows him and faints — he claims
her as his wife, but she is torn from him by the nuns
—the Abbess denounces vengeance on Emma for the
breach of her vow — Alfred wants to rescue her by
force, but all his Christian friends refuse their as-
siBtance on such an occasion — the Emir is of course
less scrupulous — he and his attendants force their
way into the church of the convent just as Emma is
immured in a niche of the wall, all but her head — a
Cardinal, who is also the Pope's Legate, and a par*
ticular friend to Alfred, absolves Emma of her vow
—there are several improbabilities in this play, but it
18 certainly interesting.
Darby's Return — that is to Ireland— this Interlude
was written by Dunlap — it was acted on the Ameri-
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can stage io 1789> but it seems not to have been
printed till 1806.
Armed Briton, or Invaders Vanquished, 1806 —
this play, in 4 acts, is rather meant for a patriotic
effusion than a regular Drama — it was written by
Burke — he well observes — " let statesmen patch up
'< grounds for killing, and warriors gild the carnage
** with false names, yet horrible war is still murder^
" and never just but in defence'*— ^I!ooper says —
" Yet war's a game,
*' That were their subjects wise, kings should not
play at/*
Solyman 1807— this is not a bad T. on the whole,
but it wants incident sadly — see Mallet's Mustapha
D. L. Feb. 13 1739.
Fox Chase 1808 — ^this C. was written by Breck —
it was printed at New York, and had been acted at
Philadelphia, and Baltimore — on the whole it is far
from a bad play.
Guardians, or the Man of my Choice — this C« was
printed at Bath in 1 808 — the author seems to have
been a man of some abilities, who could have written
a better play if he would — he boasts of having written
this in 5 days.
Barons of Elbenbergh, by Weston, 1808— this T.
was very properly rejected by the proprietors of
C. G. but some parts of it have considerable merit
Antiquity, a Farce in 2 acts, by a young Gentle-
man of the Inner Temple 1808 — the object of it was
to ridicule a taste for Antiquity, when it goes to un-
reasonable lengths — the piece is not badly written,
but it is totally deficient in plot and incident.
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Fall of Portugal, or the Royal Exiles, 1808 — a
▼eiy dull T. by , it relates to the Invasion of
Portugal by the Freuch in the time of Napoleon.
Ivor, or the Sighs of Ulla, by Kitchener, 1808 —
a poor play, but not a very bad one.
Abradatas and Panthea 1808— this T. was written
by Edwards — he has not been happy in his additions
to the story — but his play on the whole is not a bad
one — he has introduced almost every line in Xeno-
phon, and introduced it well — Xenophon, in the 5th,
6th, and 7th books of his CjnropsBdia, tells us, that
Panthea was taken prisoner by Cyrus, and that her
husband Abradates (not Abradatas) the king of Su-
siana, in consequence of the generous treatment
which his wife had received, joined Cyrus with his
troops, and was killed in the first battle — Panthea
killed herself— the story is entirely fiction— to add to
it, without diminishing the interest of it, was ex-
tremely difficult — to rival Xenophon, in the beautiful
simplicity of his language, was scarcely within the
verge of possibility.
Panthea, Queen of Susia 1809 — this is in every
respect a poor play — the anonymous author has
completely spoilt the story — but what better could
be expected from a person, who tells us in his adver-
tisement that his T. is founded on a story in JSeno-
phonl
Panthea, or the Captive Bride, 1789 — this is
another dull T. on the same subject — there are said
to be S or S more plays on the story of Panthea.
Abdication of Ferdinand, or Napoleon at Bayonne,
1809 — a poor piece.
Aristodemus — T. in prose, translated from the
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Italian, and printed at Dublin in 1809 — this play is
founded on the Messenica, or 4th book of Paasaoias
— but Monti has not been happy in his additions to
the original story — the manners which he represents,
and the sentiments which he introduces, are very
different from those which we meet with in the
Greek plays — Favalli, who translated this T., seenas
not to have known, from whence Monti had borrowed
the foundation of it.
Sons, or Family Feuds, T. by Jones, 1809 — on
the whole a poor play.
Valentine's Day, or the Amorous Knight and the
Belle Widow, 1809 — this C. is very far from a bad
one.
Patriot Prince— this T. was printed at Calcutta in
1809 — the Patriot Prince is Harold — the piece ends
with the battle of Hastings — some parts of it are bad
— others are good.
Peetus and Arria, 1809 — Psetus was condemned
to death for having borne arms against the Empe-
rour Claudius — his wife, Arria, stabbed herself— she
drew out the dagger from her breast, and gave it to
Psetus with these memorable words— *' Psstos, it
*< does not pain me''— for farther particulars of Arria,
see the Epistle to Nepos, in the 3d book of Pliny's
Epistles — nearly the whole of this T. is fiction — it
is a dull play by a gentleman of Cambridge.
Adventures of Ulysses, or the return to Ithaca, by
Mendham Jun., 1810 — this classical Drama from
Homer (as it is called in the titlepage) is neither
more nor less than a serious Opera — besides a cer-
tain portion of recitative, there are above SO songs,
6 of which fall to the share of Ulysses — it is not
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worth while to notice the smaller fisiults of this
piece.
Ethelred — no date— perhaps 1810 — this l^endary
tragic Drama (for so it is called) was written by
Mrs. Richardson — it is on the whole an indifferent
piece.
Loyalty, or Invasion Defeated, by Charnock, 1810
— some parts of this play are well written, but on
the whole it does the author no credit.
Cow Doctor 1810 (B. D.)— this C. is in 3 acts—
on the whole it does the young author credit — the
Cow Doctor is a name given, by low and ignorant
persons, to any practitioner on the vaccine system.
Hector 1810— the merit of this T. consists in the
character of Hector, which is drawn with spirit and
judgment — the character of Paris is so grossly mis-
represented, that it excites no slight degree of disgust
—Hector had been acted on the French stage with
success — it was translated into English by the Rev.
£• Mangin of Bath — it is dedicated to the late Dr.
Falconer — and it could not have been dedicated to a
more worthy man — Dr. Falconer was a man of great
abilities, and strict integrity — in one point he was a
much honester man than Dr. Johnson — Dr. John-
son^ in conversation, would sometimes support an
aigument in opposition to his real sentiments — Dr.
Falconer never said what he did not think.
Rejected Addresses, or theTriumph of the Ale-King
—Farce in 2 long acts by Stanley— no date — 18 la-
this ismerely a personal satire— Oulton considers it as
a witty production— Whitbread is called Artoleukos
and the Ale»King-*what wit is there in this ?— the
Committee of Management had advertised a reward of
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no Guineas for the best Address on the opening of
D.L. in 1812-1813.
Castle of Morsino, by W. Loveday Comedian,
1812 — this is a poor Drama, in 3 acts, but not a very
bad one.
Modem Misses, or 16 and 63 — this Farce was
written by Loveday, and acted for his bt. at Exeter
May 8 1812 — it was preceded by Town and Coun-
try. Reuben GIenroy = Kean: Cosey = Loveday:
Hawbuck = Tokely.
Prabod'h Chandro' daya, or the Rise of the Moon
of Intellect— this Allegorical Drama, in 6 acts, was
printed in London in 1812 — it had been translated
firom the Shanscrit and Pracrit by Dr. Taylor —
Reason and Passion are represented as two kings
and brothers — some of the D. P. are attached to
Reason and some to Passion — at the conclusion.
Passion and his adherents are subdued.
Intrigues of a Day, or the Poet in a Livery — this
C. was probably printed in 1813 — on the whole it is
a good play.
Gaul, King of Ragah, 1813 — this tragic Drama,
in 3 pai'ts, is not badly written, but it is written for
a bad purpose— the object of it is evidently to cast a
slur on the scriptural account of Saul, Samuel, &c
— and particularly on that part of it which relates to
Rokeby, or the Buccaneer's Revenge, by Thomp-
son— this Drama, in 3 acts, was printed at Dublin
in 1814 — it is Scott's poem dramatized.
Edward the 3d 1814 — a poor play by an anony*
mous author.
Mustapha 1814 — this T. wants incident, but on
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the whole it is far from a bad play — the anonymous *
author^asjintroduced some good sentiments — the
main plot does not differ from the real story — see
D. L. Feb. IS I7S9.
Duke's Coat, or Night after Waterloo, 1815— the
author of this piece modestly calls it a trifle — it is
however superiour to the generality of Musical En*
tertainments.
Golden Glove, or the Farmer's Son, C. by Lake,
1815 — on the whole a poor play, but not altogether
destitute of merit
Feasant of Lucem 1815 — a pretty good Melo-
drama by Soane.
Rebellion, or Norwich in 1549 — this piece is
founded on Blomefield's History of Norfolk — ^it was
written by Bromley who acted Edmund — and
brought out at Norwich April I7 1815 — from the
nature of the subject, it could hardly fail of being
interesting at that place, nor is the play itself despi-
cable,— the author having seen what poor stuff had
passed current on the modem][stage, by the assist-
ance of stage trick, music, &c., seems to have thought,
that be also might write 3 acts of Tragedy, Comedy,
and Opera.
Ivan 1816— some parts of this T. are well written,
bat on the whole it is an indifferent play — it was re-
hearsed S or 4 times at D. L., but laid aside, as
Kean said he could make nothing of the character
of Ivan — Kean was right.
Wat Tyler — a new edition of this dramatic poem
was printed by Hone in 18 1 7, with a preface suitable
to recent circumstances— this Drama, in 3 acts, was
written by Southey — he evidently wrote it for the
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sake of propagating the democratic Bentiments which
he at that time entertained, bat which be afterwards
totally abandoned — Hone reprinted it for the sake
of holding up Southey to the public view as an apos-
tate— the merit of the piece consists in the language,
which is very good — Hone in his preface is very se-
vere on Southey — Lord Byron, in his Appendix to
the Two Foscari, 1821, says of Southey — " there is
*^ something at once ludicrous and blasphemous, in
^< this arrogant scribbler of all works sitting down to
^< deal damnation and destruction upon his fellow
** creatures, with Wat Tyler, the Apotheosis of
'^ George the third, and the Elegy on Martin the
<* regicide, all shuffled together in his writing desk."
Glory of Columbia her Yeomanry I — New York
1817 — this play is a bad alteration of Andr6— see
1799.
Too much the Way of the World 1817— this C.
was written by Herbert, who (as he tells us) had
been first a sailor, and was then a butcher — it is on
the whole a very poor play — but Spunyard, a sailor,
and Alderman Holdfast are not bad characters.
How to try a Lover — this C, in 3 long acts, was
printed at New York in 1817 — it had been acted at
the Philadelphia theatre — it is an amusing piece-
better calculated for representation than perusal.
Revenge, or the Novice of San Martino, T. by
Major Parlby 1818 — the plot of this play is not bad
— the language is frequently far-fetched and unna-
tural.
Moscow, T. founded on recent historical facts by
, 1819 — some parts of this play are not badly
written, but on the whole it is a very poor T.—
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Buonaparte— the Emperour Alexander, 8cc. form the
D. P.
Night's Adventures, or the Road to Bath, C. in 3
long acts, by Philo Aristophanes, 1819 — ^this play
was never published, but 50 copies of it were printed
at the author's private press — the dialogue is good —
and the play, on the whole, far from a bad one — ^the
1st act promises well— -the 2d is rather dull — the 3d
is mere bustle, and that protracted to a tiresome
length — two marriages take place— one by the stale
trick of a sham parson — the other by a new inven-
tion, that of a special license, ffranted without the
insertion of the names of the parties — ^this is such a
monstrous absurdity, that nothing can be said in ex-
tenuation of it«
Siege of Caithage, an historical T. by Fitzgerald,
1819 — ^the juvenile author of this play was totally
ignorant of Roman manners, and but badly ac-
quainted with Roman history — ^he begins his extra-
ordinary preface thus —
" Justice I Patronage I and Merit I **
Of Patronage he was totally unworthy— of Merit he
possessed but very little — and if Justice had been
inflicted on him, he would have been whipt, ond sent
back to school.
Hydrophobia, or Love-created Madness, 1820—
this C. was written by Herbert — it has little plot,
but some of the characters are good — particularly
Allcreed, who is a methodistical preacher, and con-
tinually railing against the established church.
Atreus and Thyestes 1831— this T. was written
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in French by Crebillon, and altered for the English
stage by Sinnett— some parts of it are well written,
but on the whole it is a poor play — see Crowne's
Thyestes T. R 1681.
Glorious Revolution in 1688— no date — probably
1821 or 1822— this historical T. (or rather play) by
Lee is a very poor piece— the author has subjoined
historical notes to almost every page, yet he makes
King James (p. 49) call Anne his favourite daughter
by Queen Anne Hyde — at p. 17 he mentions Mrs.
IMasham by anticipation.
Olympia 1821 — this T. was written by Frere — he
acknowledges that he has taken the plot from Vol-
taire, but says that he has not borrowed 30 lines of
the dialogue— the scene lies at Ephesus — in the time
of the immediate successors of Alexander the Great
— ^the characters of Cassander and Antigonus are so
grossly misrepresented that they excite disgust — ^this
poor play was published at the scandalous price
of 5s.
Gonzalo, or the Spanish Bandit 1821 — this is a
Melo-dramatic play, in 5 acts — it is a poor piece, but
not a very bad one— it was written by Fortescue, who
speaks of it very modestly — he seems to have been
an actor in the Lincoln company — his play was
printed at Boston in Lincolnshire — there is a nu-
merous and respectable list of subscribers.
King Stephen, or the Battle of Lincoln, an histo-
rical T. by Paynter 1822 — this play was deservedly
rejected by the managers of D. L. and C. G., yet it
is not a very bad one.
Catiline T. by Croly 1822— Catiline is a candi*
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date for the Consulship— he is highly iDdignant at
meeting with a repulse— his wife instigates him to
revenge— he is likewise stimulated by Hamilcar, who
is a Moorish prince, and a hostage at Rome — Ha-
milcar is in love with a Greek priestess, called As-
pasia — in the 2d act, the scene changes to the temple
of the Allobroges — the Gaulish priests chaunt a
hymn — Aspasia advances from a recess, and points
out Catiline as king — the Allobroges salute him as
king of Gaul — Aspasia discovers the conspiracy to
Cicero— -Catiline is banished— Hamilcar is brought
before Cicero in chains— Cicero shows Hamilcar a
letter from Lentulus to Catiline, in which he claims
Aspasia as a part of his share of the spoils — Ha-
milcar 18 so enraged that he joins Cicero against the
conspirators — in the last scene, Catiline forces his
way into the Roman camp — ^he enters without his
helmet and wounded — he orders his troops to ad-
vance towards Rome — in the midst of his exultation
he falls suddenly, and dies — Hamilcar had stabbed
himself this T. has great merits and great faults
—the author is evidently a man of genius, who
might have written a better play, if he would— the
language is at times remarkably beautiful, or happily
characteristic — at others it is too fanciful and flow-
ery for the Drama — Croly has supported the charac-
ter of Catiline in a masterly manner—he seems to
have acted injudiciously in making Hamilcar a part
of almost equal importance with Catiline — some
considerable improprieties occur in the conduct of
the piece — how came the Allobroges to have a tem-
ple at Rome ? — what could a Moorish prince have
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to do with the conspiracy of Catiline ? _ what con-
nexion could there be between the AUobroges and a
Grecian pricBtess fi'om Dodona ?~in what language
conid they converse ? — Ben Jonson makes Setnpro-
nia say of the AUobrogian Ambassadors —
" Are they any scholars ?
Lentulits. I think not. Madam.
Semp. Have they no Greek ?
Lent. No surely.
In the 1st scene of Crol/s 5th act, there is so
gross a deviation from history, that it is disgusting to
the last degree — Cicero and the Senators enter in
procession, each leading a prisonei^-the Conspirators
ascend the scaffold, and the trumpets give the signal
for death— nothing is more certain than that the con-
spirators were put to death privately in the prison —
and even in this play Cecina says —
** This hour they lie, each in his cell, a corpse/*
In Ben Jonson's play the death of Catiline is re-
lated— Croly manages this matter much better — Ca-
tiline concludes the play with a dying speech.
Fall of Jerusalem, a dramatic poem by Milman,
Professor of Poetry at Oxford— a new edition was
printed in 1822— Milman in his introduction says —
<^ the groundwork iot the poem is to be found in Jo«
<< sephus, but the events of a considerable time are
*^ compressed into a period of about 36 hours —
** though their children are fictitious characters, the
«« leaders of the Jews, Simon, John, and Eleazer,
** are historicar — Simon has two daughters, Miriam
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and Salone — the former is secretly a Christian,
having been converted by her lover Javan — the latter
is a zealous Jewess, and, towards the dose of the
poem, married to Amariah, the son of John — at the
catastrophe Simon and John are taken prisoners —
Salone and Amariah are killed — Miriam is rescued
by Javan ^this poem is remarkable, not only for
much beautiful writing, but also for just disoimina^
tion of character — with the exception of the hymns,
it is animated and interesting — the fault of it is, that
Miriam is in the habit of meeting Javan by night at
the fountain of Siloe — ^this she does by means of a
secret passage— a circumstance highly improbable.
A dramatic poem (such as this is) is a species of
writing which ought not to be encouraged — it is like
a mule — neither horse nor ass, but something be-
tween both — a person ought to write a regular
Drama, or a regular poem without any reference to
the Drama — he who will not conform to dramatic laws
18 not entitled to dramatic privileges — Mason wrote
his Elfrida and Garactacus without the slightest view
to representation, but he rigidly observed the rules
of the Drama — Milman, on the contrary (p. 23)
makes Miriam part from Javan at the fountain of
Siloe, and begin the next scene at her father's house,
without the intervention of a single line.
Martyr of Antioch 1822 — Milman in his intro-
duction says — '< this poem is founded on the follow-
*< ing part of the history of St Margaret — she was the
<< daughter of a heathen priest, and beloved by Oly-
** bios, the Prefect of the East, who wished to marry
** her — the rest of the legend I have thought myself
** at liberty to discard, and to fill up the outline as
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" my own imagination suggested" — Olybias receives
an order from the Emperour Probus to put the
Christians to death — Margarita has been converted
to Christianity — her lover and her father earnestly
press her to renounce her faith — she continues firm,
and suffers martyrdom with the rest of the Christians
— this dramatic poem is beautifully written, but the
story is evidently too simple for 168 pages in 8vo. —
no skill could make the martyrdom at Antioch so
interesting as the Fall of Jerusalem from the re-
ligious manner in which these poems are written,
they are totally unfit for a public theatre, but if they
were to be acted in a private theatre, before a select
audience, and by proper actors, the Fall of Jerusalem
would produce a fine effect in representation, the
Martyr of Antioch would be dull-
Don Carlos, or Persecution — the 6th edition was
printed in 18SS — Lord John Russel says in his
preface — ^^ I must confess that the two main props,
** upon which the following attempt at a play is
** built, have no solid foundation in history — with
*^ regard to the passion of the Prince for the Queen,
** we have only the testimony of De Thou, who in-
** forms us, * that frequent exclamations were uttered
<< by the Prince, when he came out of the apartment
^* of the Queen, with whom he had familiar inter-
*' course, expressing indignation, as if the King had
** deprived him of his wife' — alluding to the fact that
<< the Princess had at first been betrothed to him — if
*^ this evidence be slight, there is none whatever for
^* supposing the Inquisition interfered at all in the
^Urial and condemnation of Don Carlos — that tri-
*< bunal however, has so many sins upon its head.
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''that I can scarcely do it any injury by adding an
''imaginary one to the catalogue • • I have
" likewise flattered the character of Don Carlos, as
" others have done before me, in the portrait I have
"drawn of him'* — this T. on the whole does his
Lordship considerable credit— the fault of it is that
too much is said and too little done — the characters
of the King, Don Carlos, and Valdez the great In-
quisitor, are delineated with much skill — the trial of
Don Carlos before the Fathers of the Inquisition is
not only written in a masterly manner, but well
calculated for representation — at the end of the 4th
act Don Carlos makes his escape from the prison
of the Inquisition— he is stopped by the guards —
while he is fighting with an officer, his pretended
friend, Don Luis Cordoba, wounds him — Don
Carlos in his turn wounds Cordoba — ^the King enters
— and before Don Carlos dies, he is convinced of
his innocence — Cordoba in his last moments de-
nounces Valdez as the cause of the evils which had
happened — the King sentences Valdez to perpetual
imprisonment.
For Otway's Don Carlos see D. G. I676— the
French Novel, mentioned by Langbaine, is founded
on history — it was written by St. Real— Lord John
Russel had in all probability seen either the play or
the novel — ^as the enmity of Donna Leonora Cor-
duba to Don Carlos, like that of the Duchess of
Eboli, in Otway's play, arises from slighted love —
Otway makes the Prince and Queen openly avow
their passion for each other, but without any crimi-
nal intentions — Lord John Russel manages this in a
better and more delicate manner— Don Carlos is
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secretly in love with the Queen, but he does not
avow his love till he is at the point of death — Lord
John Russel's T. is vastly superiour to Otwa/s.
Halidon Hill 1822--'this Dramatic Sketch, in 2
acts, is founded on Scottish History — it was written
by Sir Walter Scott, and designed to illustrate
military antiquities, and the manners of chivalry —
Halidon hill is occupied by the Scottish army — ^the
English, under the command of Edward the 3d, are
in sight— Swinton, an old Knight, and Gordon, a
youthful chief, are at deadly feud — the Scottish nobles
are assembled in debate before the Regent's tent —
Swinton is the only person who gives good advice —
the Regent slights it— Gordon is so struck with the
wisdom of Swinton, that he reconciles himself to
him, and is knighted by him— a battle ensues — the
English are victorious — Swinton and Gordon die of
their wounds — the victory is chiefly gained by the
English archers — Scott in his advertisement says —
** in all ages the bow was the English weapon of
'< victory, and though the Scots, and perhaps the
** French, were superiour in the use of the spear,
** yet this weapon was useless after the distant bow
<* had decided the combat" — In the Hercules Furens
of Euripides, Lycus reproaches Hercules as being
merely an archer — Amphitryon, in reply, insists that
the bow is the best military weapon— Halidon Hill
is very well written — the Ist speech is spoken by a
Knight Templar — ^this is an anachronism — the order
of the Templars was suppressed in the reign of
Edward the 2d.
Raymond de Percy, or the Tenant of tlie Tomb
— an indifferent M elodrame in 3 acts— it was written
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by Margaret Harvey, and had been acted at Sun-
derland in 1822.
Alasco 18£4 the scene lies in Poland — the prin-
cipal D. P. are — Alasco, a young Polish nobleman
-•-Col. Walsiogham, an Englishman in the Prussian
servioe — ^Baron HcAendahl, govemour of a Polish
provioce — Conrad, the foster-brother and friend of
Alasco — ^tfae Prior of an Abbey — and Amantha,
Walsingham's daughter Col. Walsingham is an
ultra-loyalist — he had brought up Alasco as a son,
and had much wished to have him united to Aman-
tha — but at the opening of the play, he strongly sus-
pects that Alasco is not sufficiently loyal, and wants
his daughter to marry Hohendahl — Alasco avows
that he is privately married to Amantha — Hohen-
dahl employs some assassins to murder Walsing-
ham*—Walsingham's life is saved by Alasco — a plan
for an insurrection had been formed — Alasco had
not at first encouraged it, but when he finds that his
countrymen are determined to take up arms, in
the hopes of recovering their liberty, he thinks it
bis duty to put himself at their head— the insur-
gents take the arsenal, and prepare to assault the
castle — Hohendahl is a man of too much courage to
defend himself within the walls of the castle— he
marches out to attack the armed peasants whom he
looks on with contempt — ^he is defeated and kiUed
— ^Walsingham arrives with fresh troops, and the
insurgents are subdued — Alasco is taken prisoner —
he is condemned to the scaffold, in spite of the en-
treaties of Walsingham — Amantha stabs herself-^
Walsingham enters, with pardon from the King for
Alasco, and amnesty for all— Amantha joins the
R 2
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hands of her father and her husband— she dies-*
Walsingham is borne off — Alasco kills himself, and
falls on the body of Amantha ^this T. was writ-
ten by Shee — it is a good play — it is said in the title-
page to have been excluded from the stage by the
authority of the Lord Chamberlain — ^this however is
not strictly true — Colman, who had lately been ap-
pointed Licenser, objected to about 85 lines — and the
Lord Chamberlain, in his answer to Shee's remon-
strance, only says that he agreed with Colman in
thinking that at that time Alasco should not be
played without considerable omissions — so that
Shee acted with more spirit than prudence in with-
drawing his play from C. G. — the preface consists
of 56 pages — 40 of which might have been omitted
— Shee ought to have been ashamed of the censure
which he passed on Gustavus Vasa, and of the
praise which he bestowed on the late Licenser— in
one point Colman was perfectly right — he struck out
the name of the deity, which Shee had too frequently
introduced — in other respects Colman was absurdly
scrupulous.
Calaf 1826— this is on the whole a poor play-
it was translated from the Italian by a lady of Bed-
fordshire— in such books as the Persian Tales (from
whence the plot is taken) we are not disgusted with
improbabilities, but in a regular play we expect some-
thing like a representation of real life.
Czar— this is an indifferent T. by Cradock— it
has no gross fault, but a better play might have been
expected from the author, who was a man of abili-
ties, and a private actor of repute— Cradock was
intimate with Garrick, and had offered his play to
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him in Jan. I776 Sheridan, in a letter dated
Jaly 12 I78O, promises to bring out the Czar
whenever the author of it should think proper*—
but the play was never acted — it is inserted in the
3d vol. of Cradock's Miscellanies, 1828, after his
death.
Sir Walter Scott, in 1830, published a Melo-
drama and a Tragedy— each of them is in 3 long
acts, and in blank verse.
1. The Doom of Devorgoil — this Melo-drama is
evidently better calculated for perusal than repre-
sentation—the merit of it consists in the language,
and in the just delineation of the characters — it is
deficient in action, and the supernatural part of the
business is bad.
2. Auchindrane, or the Ayrshire Tragedy — this
T. is a very well written poem, but not a good play
— too much is said, and too little done — Sir Walter
Scott has given us a circumstantial account of the
real story on which his piece is founded— any per-
son, who was acquainted with the stage, would have
seen, that it was hardly possible to dramatize the
story with good effect
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24G CORRECTIONS AND ADDITIONS.
CORRECTIONS and ADDITIONS.
Vol. I.
P. 17. What is here said (and at p. 19) about
Whitefriars, is not correct — see the note in vol. 4
p. 91-
Pp. 42-43— omeV the account which is here given of
the Villain, entirely, and substitute for it the fbllaw'
ing account.
Oct. 20. Villain. Malignii (the Villain) = Sand-
ford : Brisac = Betterton : Beaupres = Harris :
Boutefen = Young : Govemour of Tours = Lilliston :
Colignii (a young scrivener) = Price : Belmont =
Mrs. Betterton, late Saunderson : — Downes does
not tell us who acted the other characters— he says,
that the play succeeded 10 days with a full house to
Hie last — ^this T. was written by Porter — ^it is a good
play — the language is easy and natural, seldom rising
above serious Comedy— the plot is probably taken
from some French play or story — most of the prin-
cipal characters are officers of a regiment quartered
at Tours — Clairmont is the General — Brisac, the
Colonel, and Malignii, the Major — Beaupres is pri-
vately married to Belmont, the sister of his friend,
Brisac — Clairmont and Brisac are in love with Char-
lotte— ^they fight — Clairmont is killed, and Brisac
mortally wounded — he suspects that Malignii is a
Villain, and with his last breath desires his friends
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CORRFXTIONS AND ADDITIONS. 247
to have a care of him— they misunderBtaDd Brisac,
and BuppoBe that he meant them to have a regard for
Malignii — Malignii persuades Boutefeu that Belmont
dotes on him — ^he tells Belmont that a Friar has
something of importance to communicate to her —
and makes Beaupres jealous of Boutefeu — Boutefeu
meets Belmont, disguised as a Friar — Beaupres find-
ing them together, wounds Belmont, and kills Bou-
tefeu— ^Malignii runs at Beaupres with his sword,
but is disarmed — the whole of his villany is disco-
vered, and he is tortured to death — Belmont, Beau-
pres and Charlotte die—Colignii and the Host are
comic characters ^this play is printed without the
Epilogue, but the Epilogue is to be found in Dave-
nanfs poems— a doorkeeper comes in haste to Bet-
terton, and tells him that the author has twice sent
to speak to him— Betterton replies—
'* What ? ere I shift my clothes ? can he not
" stay,
'* Till our own scouts bring tidings of the play.''
P. 51. Omit the first 6 lines entirely ^ and substi-
iutefor them whatfdUows.
To this maxim he adhered pretty steadily — in the
dedication he speaks of the Tragedy of Queen Gor-
boduo— Langbainein 1691 says — '< I must crave leave
<' to tell Dryden (tho' his Majesty's late Historiogra-
** pher) that I never heard of any such Queen of
*^ Britain — nay further, if he had consulted any
'* writer of Brute's history, or even the argument
'* of the play itself, he would not have permitted so
« gross an error to have escaped his pen for 3 edi-
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2t8 CORRECTIONS AND ADDITIONS.
" tions —yet it may be his printer was as much to
** blame to print Queen for Kinff^ as he ironically
*< accuses Sir Robert Howard's for setting shut for
« cpenJ'
Carnival— this is a good C. by Porter — there are
no performers' names to the D. P.— Don Ferdinando
is betrothed to Beatrice, the sister of Don Alvaredo
— ^Don Alvaredo is in love with Elvira — he takes his
friend Ferdinando to Elvira's— she falls in love with
Ferdinando, and he with her— Ferdinando, on re-
flection, is ashamed of having deserted Beatrice— he
leaves Seville privately — she follows him, disguised
as a man— they both fall into the hands of robbers-
Miranda, the sister of Beatrice, is a forward girl-
Felices, the brother of Ferdinando, is a gay young
man, but with good principles — Don Lorenzo, Don
Antonio, Sancho, and Quintagona, are comic cha-
racters, who have no particular connexion with the
plot— at the conclusion, Ferdinando marries Beatrice
— Alvaredo marries Elvira — Felices tells Miranda,
that she will be fit for marriage in 3 or 4 years, and
that if he should like her then, as well as he does
now, he will marry her.
Oct. 11. Pepys says— **I am told that the Par-
<^ son's Wedding is acted by nothing but women at
<< the King's house."
Go on with X. /• JP. 1664.
Pp. 58-54. Lovers Kingdom — omit the account
which is here ffiven, and substitute for it the long
account which follows.
Love's Kingdom— this Pastoral Tragi-Comedy was
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CORRECTIONS AND ADDITIONS. 249
written by FleckDoe — Downes says it was acted 3
times — ^Flecknoe printed it in 1664 — ^not as it was
acted, but as it was written, and since corrected —
fiellinda had been shipwrecked on the coast of
Cyprus, where the scene lies— Palemon is in love
with her _ Filena is in love with Palemon — Bel-
Unda, according to the law of the conntry, is at the
expiration of 3 months called upon to swear that
she loves some one in Cyprus— if she should refuse,
she is to be banished for ever — she is at a loss how
to act — she is sent to a sacred cell for an hour — on
her return to the stage, she faints — her veil is par-
tially taken off, and she gets a glimpse of Philander,
to whom she was betrothed, and who had just come
to Cyprus in search of her — she has no longer any
scruple about taking the oath — Bellinda is supposed
to have perjured herself, and is consequently con-
demned to death — Philander aud Palemon offer
themselves to suffer death in lieu of Bellinda — Bel-
linda proves that she was not guilty of perjury, as
when she took the oath, she had seen Philander —
Palemon marries Filena — all the women in Cyprus
are chaste, that being the Kingdom of Love, but not
the kingdom of lust — this is very far from a bad play
— Pamphilus is a very good comic character — ^he is
a stranger in Cyprus, and has no refinement — he is
for making love in the old fashioned way — Laug-
baine says that Love's Kingdom is only a slight alte-
ration of Love's Dominion, which Flecknoe pub-
lished in 1654 — Harris probably acted Pamphilus.
Flecknoe has annexed to Love's Kingdom a short
discourse on the English Stage — after some pre-
liminary observations, he adds— <^ In this time were
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250 CORRECTIONS AND ADDITIONS.
** poets and actors Id their greatest flourish, Johnson,
<' Shakspeare, with Beaumont and Fletcher their
" poets, and Field and Burbidge their actors — for
** plays, Shakspeare was one of the first, who in-
'' verted the dramatic stile, from dull history to
*< quick comedy, upon whom Johnson refined — as
<< Beaumont and Fletcher first writ in the heroick
** way, upon whom Suckling and others endeavoured
<< to refine again— one saying wittily of his Aglaura,
'Hhat 'twas full of fine flowers, but they seemed
<< rather stuck, than growing there — as another, of
^' Shakspeare's writings, that 'twas a fine garden,
**but it wanted weeding • * — to compare our
<' English dramatic poets together (without taxing
<Uhem) Shakspeare excelled in a natural vein,
'* Fletcher in wit, and Johnson in gravity and pon-
<< derousness of style — whose only fault was, he was
*< too elaborate— and had he mixed less erudition
<^ with his plays, they had been more pleasant and
<< delightful than they are — comparing him with
*< Shakspeare, you shall see the difference betwixt
" Nature and Art— and with Fletcher, the difference
<^ betwixt Wit and Judgment — Wit being an exube-
'< rant thing, like Nilus, never more commendable
<< than when it overflows — but Judgment a staid and
*^ reposed thing, always containing itself within its
<' bounds and limits — ' Beaumont and Fletcher were
<' excellent in their kind, but they often erred against
•< decorum * • Fletcher was the first who introduced
** that witty obscenity in his plays, which like poison
<< infused in pleasant liquor, is always the more dan-
^ gerous, the more delightful — and here to speak a
*« word or two of Wit, it is the spirit and quin-
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CORRECTIONS AND ADDITIONS. 251
'* tescence of speech, extracted out of the substance
"of the thing we speak of, having nothing of the
" superfice, or dross of words, (as clenches, quibbles,
" giugles, and such like trifles have) it is that^ in
" pleasant and facetious discourse, as eloquence is
" in grave and serious — not learnt by art and pre-
" cept, but nature and company — it is in vain to say
"any more of it — for if I could tell you what it
" were, it would not be what it is — being somewhat
" above expression, and sach a volatile thing, as it is
" altogether as volatile to describe — it was the hap-
"pinessof the actors of those times to have sudi
" poets as these to instruct them, and write for them
" — and no less of those poets to have such docile
" and excellent actors to act^their plays, as a Field
" and Burbidge * * now for the difference betwixt
"our theatres and those of former times*- they were
" but plain and simple, with no other scenes, nor
" decorations of the stage, but^only old tapestry, and
" the stage strewed with rushes, (with their habits
"accordingly) whereas ours now for cost and oma-
" ment, are arrived Jo^the height of magnificence —
" but that which makes our stage the better, makes
" our plays the worse, perhaps, they striving now to
" make them more for sight than hearing — for
"scenes and machines^ they are no new invention,
"our masks and some of our plays in former times
"(though not so ordinary) having had as good, or
** rather better than any we^ have now — of this
" curious art, the Italians (this latter age) are the
" greatest masters, the French good proficients, and
"we in England only scholars and learners yet,
" having proceeded no further than to bare painting.
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Q52 CORRECTIONS AND ADDITIONS.
** and not arrived to the stapendious wonders of your
** great engineers, especially not knowing yet how to
<^ place our lights for the more advantage, and illu-
<* minating of the scenes — and thus much suffices it
^* briefly to have said of all that concerns our modern
** stage, only to give others occasion to say more"
Flecknoe's short discourse perhaps suggested to
Dryden the thought of writing more fully on the
same subject — Flecknoe's observations were printed
before Dryden began his Essay on Dramatic Poesie
— Langbaine considers Flecknoe's short discourse
as the best thing that Flecknoe ever wrote — and if
we may judge of Flecknoe's abilities from his short
discourse, and from Love's Kingdom, he was not so
dull a writer as Dryden has represented him to be.
P. 54. Comical Revenge— omit the account which
is here given, and substitute the account whichfclhws.
Comical Revenge, or Love in a Tub. C. by
Etherege— Sir Frederick Frolick = Harris : Dufoy
Price : Lord Beaufort = Betterton : Col. Bruce =
Smith : Sir Nicholas Cully (one of Oliver's knights)
=Nokes : Palmer = Underbill : Wheadle = Sand-
ford: Louis = Norris : Widow Rich = Mrs. Long:
Graciana = Mrs. Betterton : Aurelia = Mrs. Davis :
{Dawnes) — Lord Beaufort and Col. Bruce are in
love with Graciana — Aurelia is in love with CoL
Bruce — at the conclusion she is married to him —
these are serious characters, and the scenes in which
they are concerned are written in rhyme — this part
of the play is dull— the comic part is good — Palmer
and Wheadle are sharpers, who swindle Sir Nidiolas
out of a promissory note for £1000 — Sir Frederick
recovers the note for Sir Nicholas, and prevents him
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CORRECTIONS AND ADDITIONS. 253
from manyiDg Grace, who is kept by Wheadle, and
who pretends to be the Widow Rich — Sir Frederick
however passes his own mistress on Sir Nicholas for
his sister, and gets him to marry her — the Widow
Rich is in love with Sir Frederick, and at last mar-
ried to him — Dafoy is Sir Frederick's French Valet
— the Widow's servants give him some opium, and
while he is asleep they put him into a tub or barrel,
with a hole for his head— Downes says — " this play
<* brought £1000 to the house in the course of a
'< month, and gained the company more reputation
" than any preceding Comedy."
« Sir Nic'las, Sir Frederick, Widow, and Dufoy,
•• Were not by any so well done, Mafoy/*
The Comical Revenge seems not to have been
published till 1669, but it was licensed for printing
July 8 1664.
JP. 66. English Motmsieur — omit the account
which is here given, and substitute for it thefoUowing
accounts
8. English Mounsieur— this is a tolerable C. by
the Hon. James Howard — Lady Wealthy is a widow
— Wellbred is in love with her, but (as she says) he
is particularly enamoured of her, when he has lost
his money at play— in the 2d act, he brings a Parson
with him, and asks her to marry him — she pretends
to have made a vow, that whoever marries her shall
give the Parson ten pieces in gold for performing the
ceremony — he has no money — in the 3d act, he
comes again to visit her— she refuses him admittance
unless he can produce 100 pieces— in the 4th act, he
prevails on Gripe to lend him that sum just to show
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254i CORRECTIONS AND ADDITIONS.
at Lady Wealthy's door — he gains admittanoe-^but
her woman sees him return the money to Gripe —
Lady Wealthy offers to marry him, if he will giye
her chaplain the necessary fee — Wellbred has no
money — ^at the conclosion they are married— French-
love, the English Mounsieur, and Vaine, who pre-
tends to be much admired by the women, are taken
in to marry two Courtezans — Comely protests
against ever being in love — he enters booted and
spurred with an intention to take a final leave of
London, but falls in love with a country girl, who is
come to town with her sweetheart to be manned—
Langbaine says — ** whether the Duke of Bucking-
** ham in making Prmce Volscius fall in love with
<< Parthenope, as he is pulling on his boots to go oat
<< of town, designed to reflect on the characters of
<< Comely and Elsbeth, I pretend not to determine :
'< but I know that there is a near resemblance in the
<' characters" — the English Mounsieur was not
printed till I674, and then without the names of the
performers to the D. P. — Pepys says that the women
acted very well, but above all, little Nelly — she doubt-
less acted Lady Wealthy — Lacy and Hart probably
Frenchlove and Wellbred.
P. 70. Florals Vagaries — omit the account which
is here ffiven, and substitute for it the following
account
Oct. 5. Flora's Vagaries. Ludovico = Beeston :
Alberto (in love with Flora) = Mohun : Francisco =
Burt: Grimani (father to Otrante and uncle to
Flora) = Cartwright : Prospero = Bird : Fryar =
Loveday : Flora = Mrs. Ellen Gwyn : Otrante =
Mrs. Nepp : — to Giacomo, who is Grimani's maD>
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CORRECTIONS AND ADDITIONS. S55
and a character of some importance, there is no
actor's name— Scene Verona — Francisco having ob-
tained a false key to Otrante's garden, engages Ludo-
vico to assist him in carrying her off— he pretends that
this is to be done with her consent — it proves how-
ever that Otrante is quite averse from Francisco —
Ladovico rescues her — Francisco hires two rogues
to murder Ludovico — Otrante falls in love with Lu-
device, and makes her inclinations known to him by
means of the Fryar, who is unconscious of what he
is about — this is from Boccace Day 3 Novel 3 — ^Lu-
dovico has a dislike to women, but gradually becomes
enamoured of Otrante — in the 5th act, Alberto and
Ludovico run off with Flora and Otrante, and are
married — Francisco is severely wounded, and con-
fesses his villany — Flora is a spirited character — she
takes a delight in plaguing Grimani— this C is attri-
buted to Rhodes — it is a very good one — it was not
printed till I67O— revived at D. L. July 26 1715.
P. 216 1. 21. For instituted— read — instigated.
P. 226. For Mithradates — read — Mithridates.
P. 248 1. 10. For to recommend to it— read — to
recommend it.
Vol. IL
P. 49. Omit the account of the Wary Widaio,
and substitute for it tJie following account.
Wary Widow, or Sir Noisy Parrot — this is an in-
different C. by Higden — Sir Worldly Fox keeps
Leonora — Frank Fox had been intimate with her—
but on finding that her keeper is his own father, he
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2o6 CORRECTIONS AND ADDITIONS.
breaks off the intimacy, and marries Lady Wary —
she is a young and rich widow — Frank contrives to
get Sir Noisy Parrot married to Leonora.
P. 69. For Qai/teria read Quitteria.
P. 70. For Oronooko read Oroonoko.
P. 127 1. 25. For thrown on the Clergy — ^read—
upon.
P. 365. Beaux Strategem — read Stratagem, ac-
cording to the English mode of spelling — the origi-
nal Greek word is Strat^gema — in Latin the word
is Strat^gema, or Stratagema ( Ainsworth J -- thus in
the Leyden edition of Polysenus in I69O, we have
Strat^ematum in the titlepage, and Stratageaiatum
in the Ist page of the 1st book.
P. 559. Insert the following account of Venus
and Adonis^ after the account of a Wife weU Ma»
naged.
Venus and Adonis was printed in 1715 — it had
been acted at D. L. — it is a Masque by Gibber — the
whole seems to consists of airs and recitative — Ado-
nis enters— then Venus descends from her chariot—
Venv^. Ah 1 sweet Adonis formed for joy, &c. —
Adonis. 0 1 bounteous Goddess ! you misplace
The blessings you on me bestow.
this is very correct as Adonis was acted by a woman
Adonis is coy, and says he prefers hunting to
love — in the next scene, he returns tired from the
chase and falls asleep — Venus kisses him — when he
awakes, he acknowledges his folly, and accepts her
love— on the approach of Mars, she hides Adonis
with some boughs — Mars discovers, and is going to
kill him — but on recollection he determines to
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CORRECTIONS AND ADDITIONS. 257
" leave his vengeance to the Boar." — Adonis enters
bleeding —
" The Boar
*• With fatal tusk my bosom tore.'*
his woand was in the thigh — see Bion — Venus in
despair sings
" O ! pleasing horror ! — O I melodious yell 1"
(N. B. Venus and Adonis had done nothing im-
proper.)
This piece is said to have been coolly received —
it is a pity that it was not damned, and then Gibber
might have sung
Aia^of Tov Aduviv* aTTcaXeTo KuXog A^avig.
P. 579. Begin this page thus.
15. By particular desire Constant Couple. Clin-
cher Jun. = Miller.
Myrtillo, a Pastoral Interlude by CoUey Cibber,
was printed, and probably acted in I716 — it is a
musical trifle not worthy of notice— Myrtillo, a Shep-
herd, was acted by a woman — Laura is in love with
him, but treats him with disdain — at the conclusion
they are united.
Go on vnth Summer.
P. 609. Prophetess— for 9— read Feb. 9.
Vol. III.
P. 176. Last line — omit the mark between
Elder and Belfond.
VOL. X. S
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Q58 CORRECTIONS AND ADDITIONS.
P, 248. For Colley read CoflFey.
P. 295. For Milwood read Millwood.
P. 303. For tolerable read tolerably.
P. 360 — add Blazing Comet and Ametta.
Tbe Blazing Comet, the Mad Lovers, or the
Beauties of the Poets — this play was written by
Johnson, the author of Hurlothrumbo — it is another
proof that Johnson was half mad — yet he sometimes
writes sensibly.
Amelia — this serious Opera, in 3 acts, is attri-
buted to Carey — the scene lies on the frontiers of
Hungaria.
P. 433. In the running title, for C. 6. read G. F.
P. 55i. For Chatillion read Chatillon.
P. 652. Provoked Husband — for Mrs. Walker
read Mrs Walter.
Vol. 4.
P. 65. For Trinculo— read — Trincalo.
P. 68. For Osirus — read — Osiris.
P. 92, 1. 23. For cap. iii— read— cap. 111.
P. 106. Correct 39 and 40 thus—
39. Guardian 'j See Massinger's
40. Unnatural Combat J Works 1804-1805.
P. 117, 1. 21. For both the editions — read — a
copy of both the editions.
P. 472. Arthur's bt.— for C. G. April 24 1730—
read— C. G. April 24 17S8 — it is very difficult to
avoid typogi*aphical mistakes where figures are con-
cerned.
Add to the end of this Vol, asfoUows.
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COBRBCTION8 AND ADDITIONS, 2^9
COMIC THEATRE.
The Comic Theatre in 5 vols, was published ia
1762— it is said to be a free translation of the best
French Comedies, by Samuel Foote, Esq. and others
—the Editor of the 6. D. says that only the first of
these plays was translated by Foote.
Vol. 1.
1. Young Hypocrite — a good C. in 3 acts by
Destouches — Angelica is in love with Leander — her
father, the Baron of Oldcastle, is rather under petti-
coat government — her mother insists that she shall
marry Mazure, a country gentleman, who pretends
to be a fine poet — Leander and his servant, in the
di^uise of gardeners, get employment in the family
of the Baron— the piece ends with the union of An-
gelica and Leander — the Young Hypocrite is Babet,
who imposes on Mazure, and makes him believe that
her sister Angelica is a fool — Colman says that the
character of Sally in Man and Wife is an imitation
ofthatof Babet
2. Spendthrift — Cleon, the Spendthrift, is in love
with a rich widow called Julia — she is in love with
him — in order to cure him of his extravagance, she
accepts presents from him to a large amount —
secretly purchases his estate — and contrives to win
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260 CORRECTIONS AND ADDITIONS.
great sums from him at the gaming table — Cleon,
when reduced to distress, is deserted by his pre-
tended friends— he is convinced of his folly — Julia
gives him her hand and fortune— the dialogue of this
C. is good, but the plot is too slight for 5 acts — 3
would have been sufficient — from this piece, Mrs.
Inchbald has borrowed a considerable part of her
Next Door Neighbours — and O'Beirne nearly the
whole of his Generous Impostor.
3. Triple Marriage— a good C. in one long act by
Destouches — Orontes wants his son Valere to
marry an old woman, and ^ his daughter Isabella to
marry an old man — in the last scene, they both ac-
knowledge that they are already marrried — Orontes
acknowledges that he also is privately married.
Vol. 2.
1. Imaginary Obstacle— Julia is placed by her
uncle under the care of Lisimon — he and his son
Valere both wish to marry her— she is in love with
Leander, who had been absent about 3 years with
a view to make his fortune— he returns, having in
the mean time married and buried an old rich
widow — ^Julia's uncle also returns from abroad — he
gives his consent to her union with Leander — but
at the close of the 4th act an unexpected Obstacle
occurs— the old woman, whom Leander had mar-
ried for her money, appears to be Julia's mother —
in the 5th act it turns out that Julia was not really
the daughter of the person whom she supposed to
be her mother— this is a good C.
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CORRECTIONS AND ADDITIONS. 26l
2. Sisters — this C. in one act is well written,
bat it is mere dialogae with little or no incident —
the Sisters are Sophia and Palcheria— 4he former is
of a most amiable disposition, but not beaatiful —
the latter is very beautiful, but proud — and deter*
mined not to marry any one under the title of a
Duke — she rejects the Marquis and 3 other suitors
— the Marquis, who was captivated by the beauty of
Pulcheria, yet always sensible of the superiour merit
of Sophia, then solicits her hand— he proves his sin-
cerity by producing a letter which had just informed
him that the King had made him a Duke — ^the
mother of Pulcheria, who doats on her and dislikes
Sophia, is grievously disappointed.
3. Libertine, or the Hidden Treasure — a very
good C. — OldBellair had gone abroad — in his ab-
sence his son is very extravagant — he sells the
family house, which AUworthy buys, knowing that
Old Bellair had buried about £30,000 in the gar-
den— in the course of the play young Bellair reforms
— his father returns, and is, with much difficulty,
reconciled to him — the son marries Allworthy's
daughter — Ffeice, young Bellair's valet, and Front,
a fellow who lives by his wits, are the best charac-
ters— Front is employed by AUworthy to pretend
that he has brought home £6000 from Old Bellair
— he meets Old Bellair, but as he does not know
him, a laughable dialogue ensues between them —
this play is founded on the Trinummus of Plautus.
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262 CORRECTIONS AND ADDITIONS.
Vol. 3.
1. Legacy.
2. Generous Artifice, or the Reformed Rake—
the plot of thie C. is too simple for 5 acts— but the
dialogue is written in a lively manner '^Clerimont
is a wild young man who has involved himself con-
siderably in debt — ^he is made to believe that his
father, for whom he has a great r^ard, is ruined by
his extravagance — he reforms, and marries Isabella
— the principal character is Subtle, Qerimonf s ser-
vant— there is also a good chambermaid.
3. Whimsical Lovers.
Vol. 4.
!• Blunderer.
2. Amorous Quarrel. f See MoUere at the
3. Conceited Ladies.
4. Forced Marriage.
f See MoUere at t
I end of 1754.1755.
VoL 5.
1. Man Hater.
1 See
9. Fag^t Maker, or Mode Doctor, l ^. T^
3. Gentleman Cit. C Mohere.
1
Vol. V.
P. 168. For CotUIino— read— Cotillion.
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CORRECTIONS AMD ADDITIONS. 263
P. 208 lines 9 and 10— read — acquiesced— and.
P. 228. Add to line 7~N. B. r. b. relates only
to the names of the performers and to the Farce
— the characters of the Tragedy are not in the bill —
die case is the same in p. 405.
P. 610. For Mercury— read Hermes.
Vol. VI.
P. 55. Omit entirely the line about the Two Noble
Kinsmen^ and substitute for it thefoUawing account.
47* Two Noble Kinsmen — see Rivals L. I. F.
1664 — the Two Noble Kinsmen are Palamon and
Arcite — ^they are nephews to Creon King of Thebes,
and sworn friends — they are taken prisoners by
Theeeus-^from the window of their prison they be*
hold Emilia walking in a garden — they both fall in
love with her, but as Palamon saw her first, he con-
siders Arcite's passion for her as a breach of friend*
ship — Perithous obtains Arcite's liberty, but on con-
dition of his banishment from the Athenian territories
— ^Arcite puts on a disguise, obtains the favour of
Theseus, and is appointed to attend on £milia--*the
Jailor's daughter falls desperately in love with Pala-
mon — by her means he makes his escape from the
prison, and conceals himself in a wood — Theseus and
his Court go into the wood to celebrate May Day —
a Morris is danced before them— Palamon and Ar«
dte meet and fight — Theseus surprises them» and
condemns them to death — Hippolita and Emilia in-
terfere in their behalf — Theseus offers Emilia to
choose either Palamon or Arcite for her husband —
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2G4 CORRECTIONS AND ADDITIONS.
she cannot determine which of them she likes best —
Theseus then decrees that they should both go home,
and return each of them with three Knights — the
victor is to have Emilia — ^the person who is conquer-
ed is to be put to death with his friends — Arcite is
the conqueror, but Palamon eventually obtains the
hand of Emilia, as Arcite is killed by a fall from his
horse— the Jailor's daughter loses her senses for the
love of Palamon — at the conclusion she is likely to
recover them.
P. 174 line 52 1 — for Mercury — read — Hermes.
P. 442. Add to what is said ofPorsony the follow-
ing story.
When Person was at Eton, he was called on by
the Master to construe part of an Ode of Horace —
this he did with fluency — Person was not able to
find his Horace, and had taken up the Poetae Graeci
— the boys, who stood near him, and who saw that
he had a Greek book in his hand instead of a Latin
one, began to laugh — the Master at first thought that
they were laughing at him, but on seeing the eyes of
the bo}rs turned towards Person, he said to him,
" Person, what edition of Horace is yours ?" — " the
<< Delphine, Sir,*' said Person, without the slightest
hesitation— the Master then said, <^ let me see it,"
and Person handed to him the Poetsd Graeci — ^the boys
burst out into a loud laugh — the Master paid Person
a neat compliment by saying to the boys — <^ I wish I
^< could see another of you doing the same thing " —
Person told me this story one morning, at Cam-
bridge, between oxi^ and two, as I was lying in bed,
and be was talking to me at the foot of the bed — we
had gone down to vote for Lord Henry Petty, and
Digitized by VjOOQ IC
OORRfiCTIONS AND ADDITIONS* 265
were glad to get a doable-bedded room at a small
inn.
P.46L March 3 — read— >For bt of Mr. and Misa
— and on March 27— for Murtay read Murray.
P. 497 1. 18— For C read— C. G.
P. 500 1. 28 — For sensibls— read sensible.
P. 592 L 27 — For Endless is discovered concealed,
in a sack— >read — Endless is discovered, concealed in
a sack.
\
Vol. VIL
P. 53. For Mtahews read Mathews.
P. 225. Last line — for peformed read performed.
P. 255. Alcanor should have been inserted in
1778-1779, and omitted in 1794-1795.
P. 296. Jew — omit the mark between Eliza and
Ratdiflfe.
P. 438. Omit what is said about Mr. Simons, as
having been previously printed.
P. 465. For e Montfort read De Montfort
P. 501. The full stop after— judicious alteration
—should have been a comma.
P. 698. 1. 1. For was read were.
Vol. Vin.
P. 302 1. 5— For prominent feature — read — ^pro-
minent figure.
P. 306 1. 6 — For strange tricks — read — stage
tricks.
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266 CORRECTIONS AND ADDITIONS.
P. 310 L 3— For Mrs. Siddons— -read— Mr. Sid-
dons.
P. 342 L 2 from bottom— For pefectly— read-
perfectly.
P. 605 1. 15— For Plolemy— read— Ptolemy.
P. 642 1. 16— 'For contributed — read — contribute.
Vol. IX.
P. 22 last word — For he — read — she.
P. 291 1. 16— For as p. 15 —read — at p. 15.
P. 499 — ^Julius C»sar— For Brutus = Younge :-
read — Brutus = Young.
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IRISH STAGE.
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Digitized by VjOOQ IC
269
PREFACE TO THE IRISH STAGE.
The following account is compiled chiefly
from Hitchcock's Historical View of the Irish Stage,
except that where Hitchcock borrows from Chet-
wood, Victor, and Wilkinson, the originals have been
consulted*
Hitchcock's book is properly written according to
the seasons, and has little in it foreign from the
theatre — his great fault is an occasional want of
accuracy — he does not even copy with exactness^—-
one instance may suffice — he speaks of the Duke of
Dorset as Lord Lieutenant in 1757-17^8> tho' Vic-
tor expressly says that the Duke of Bedford had sue-
ceeded him— to enumerate all the smaller instances
of Hitchcock's inaccuracy would only be tiresome —
but in the early part of his work he makes one of
the grossest mistakes ever made — he says that
Wilks was invited by Rich to C. G. in I698 _ that
theatre was not opened till Dec. 1732.
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270 PREFACE TO THE IRISH STAGE.
Hitchcock is sach a dealer in panegyrick that I
have sometimes taken the liberty of qaalif3ing the
praises he bestows on the performers, in which I
am satisfied I have done rather too little than too
much.
Hitchcock's Ist Vol. was published in I788, and
the 2d in 1794 — he was at that time prompter of
the Dublin theatre, but he was not prompter during
any of the time of which he writes — it was his in-
tention to have brought his History down to I788—
and it is much to be lamented that he did not — ^for
tho' he is not near so exact as he should have been,
yet his book on the whole contains a great deal of
information, and is particularly entertaining.
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IRISH STAQE. ^1
SOME ACCOUNT OF THE IRISH STAGE,
FROM 1660 TO 1774-
Soon after the Restoration a new Theatre was
built in Orange Street, commonly called Smock
Alley — it took this appellation from Mother Bongy
of infamous memory, and was in her time a sink of
debaudiery — but a man being found murdered there,
the miserable houses, which then occupied that spot,
were pulled down^-^and handsome ones were after-
wards built in tti^ir room — yet tho' the place was
thus purged of ifes ^infamy, it still retained its old
name. {Chetvxxxi.)
In 1662 Pompey, a Tragedy translated from the
French, was acted there this theatre was so
badly built, that in I67I some part of it fell down
— when two persons were killed and several severely
woanded. {Hitchcock.)
Nichomede was printed in London in I67I
Langbaine says it had been acted in Dciblin — ^tbis
T. C. is written in rhyme — it was translated ^fFom
Comeille by Dancer or Dauncy — it is not a
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272 IRISH STAGE.
play, but it has the usual coldness and declamation
of the French stage— the principal D. P. are —
Prusias, King of Bithynia.
Nichomede, his son by his first wife.
Flaminius, the Roman Ambassador.
Attains, son of Prusias and Arsinoe.
Laodice, Queen of Armenia, and ward to Prusias.
Arsinoe, second wife to Prusias.
Nichomede and Attains are in love with Laodice
— she is in love with Nichomede — Prusias is go-
verned by his wife — he wishes Laodice to marry
Attains — he orders Nichomede to be taken into
custody, with the view of sending him to Rome as
a hostage— the people rise and rescue Nichomede —
Nichomede appeases the fury of the people — Prusias
is reconciled to Nichomede — Arsinoe and Attains
likewise become his friends — Langbaine refers us
for the plot to the last chapter of Justin's 34th book
— but Comeille has altered the story materially —
Justin says that Prusias intended to h^ire killed Ni-
comedes, for the sake of his sons by bi^ second wife»
but that Nicomedes became ^wai^§i{^ his design, and
killed Prusias — the translator should have called his
play Nicomedes, not Nichomede — in English we fol-
low the Latins, and not the *^ chopping French, '* as
Shakspeare calla t^mr^Sir and Madam occur per-
petually, ir^'
Agrippa,. )Cipg:Of Alba, or the False Tiberinus —
this T. was printed at London in 167^ — it had been
acted at Dublin before the Duke of Ormond, then
Lord .Lieutenant — this is a translation from the
JFreycb of Quinault by J. D. — (probably John
|(>^cer) — it is a dull play in rhyme — the plot is
Digitized by VjOOQ IC
IRISH STAGE. 273
intricate, and very improbable — Agrippa, the son of
Tyrhenu8» had a very strong personal resemblance
to Tiberinus the King of Alba — Tiberinus was
drowned in the river Albula — and Tyrhenus had
persuaded his son to assume the character of Tibe-
rinus — the scheme succeeded — the real Tiberinus
was in love with Albina, the sister of Agrippa, and
beloved by her — the False Tiberinus is in love with
Lavinia— Mezentius, nephew to the real Tiberinus,
is also in love with her — she dislikes Mezentius,
and detests the false Tiberinus, as she believes him
to have murdered Agrippa, with whom she was in
love — Lavinia enjoins Mezentius to kill the false
Tiberinus — he promises to do so — in the 4th act,
the False Tiberinus acknowledges to Lavinia, that
he is really Agrippa — he calls on his father to attest
the truth of what he has said — Tyrhenus is so far
from doing this, that he insists that Agrippa had
been murdered — in the 5th act, a messenger tells
Lavinia and Tyrhenus, that the false Tiberinus is
killed — Tyrhenus now avows the false Tiberinus to
have been Agrippa — Agrippa enters — he says that
his life had been preserved by Albina — and that
Mezentius had killed himself — Lavinia, by the death
of the real Tiberinus and Mezentius, becomes the
rightful Queen of Alba — Tjrrhenus presents the
crown to Lavinia — she gives the crown and herself
to Agrippa— nearly the whole of this T. is fiction —
Dionysius Halicarnassensis only says that Tiberinus
was killed in a battle fought near the river Albula —
that the river was from him called the Tiber — and
that Agrippa succeeded Tiberinus.
During the wars between William the 3d and
Digitized by VjOOQ IC
274 IRISH STAGE.
James the 2d, playing was discontimied, but when
peace was restored, the theatre was opened with
Othello — the play was chiefly acted by Officers
belonging to the Castle— Wilks made his 1st app.
on a public theatre in the character of Othello — he
acted with the utmost applause— and, as he told
Chetwood, pleased every body but himself.
Mr. Ashbury, who on this occasion played lago,
was the only professional actor among them— he
collected a company, and opened again with Othello
March 2S 1691-2 — the day of proclaiming the end
of the Irish war Joseph Ashbury was not only
the principal actor of his time, but was said to be
the best teacher of the rudiments of acting in the
three kingdoms — Chetwood, who saw him in his old
age, says that he had a good person and a manly
voice— that he acted C!ol. Careless in the Committeei
so well as to make those who saw him foi^et his
years— and that his person, figure, and manner, in
Don Quixote were inimitable.
His company played with success for many yean
— Etheridge's three Comedies were thus acted about
1698— Chetwood had the cast of them from Grif-
fith the actor.
Comical Revenge. Sir Frederick Frolick =
Wilks : Dufoy = Bowen : Sir Nicholas Cully =
Norris: Wheedle =E8tcourt: Palmers Trefusig:
Col. Bruce = Booth: Luis — Keen: Mrs. Rich =
Mrs. Hook: Gracianat=Mrs. Knightley : Aurelia=
Mrs. Ashbury.
She wou'd if she cou*d. Sir Oliver Cockwood
=Norris: Sir Joslin Jolly = Estcourt: CourtaIl=
Wilks: Freeman = Booth: Rakehell = Griffith:
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Thomas = Trefusis : Lady Cock wood = Mrs. Smith :
Ananas Mrs. Schoolding: Gatty = Mrs. Hook :
Mrs. Sentry = Mrs. Ashbury.
Man of the Mode. DorimaDt = WiIks : Sir Fop-
ling flatters Griffith : Medley = Booth : Old Bel-
lair = Estcourt : Young Bellair = Elliot : Shoemaker
= Bowen : Handy = Norris : Mrs. Loveit = Mrs.
Knightly : Bellindan Mrs. Schoolding : Emilia = Mrs.
Elliot : Harriets Mrs. Ashbury : Pert = Mrs. Hook.
Mrs. Ashbury had an engaging countenance and
was always correct, without attaining to any great
perfection — her best part was Mrs. Pinchwife-^
Chetwood was told by Wilks that Mrs. Knightly,
Mrs. Hook and Mrs. Smith were good actresses in
their different lines— Mrs. Hook was the ^ginal
Aurelia in Twin Rivals.
Gibber says Wilks returned to D. L. in 1 696 —but
it is sufficiently clear that it was not till 1698 at
the soonest.
Bowen probably made but a short stay in Ireland
— Norris was in London in 1700, and Estcourt and
Keen not long afterwards.
Wilks' first inclination to the theatre, proceeded
from the praises of Richards, then an actor on the
Dublin stage — Richards is said to have been a good
performer both in Tragedy and Comedy, but not
happy in his personal appearance.
Wilks used to hear Richards repeat his parts and
read the intervening speeches, which he did with so
much propriety that the praises of Richards began
to fire his mind for the Drama, and he was easily
prevailed on to act the Colonel in the Spanish Friar
privately at Mr. Ashbury's — after he had aqted
T 2
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Othello, he went on with good success for 2 years*
when Richards advised him to try bis fortune in
England, and gave him a letter of recommendatioa
to Betterton, who received him very kindly and en-
gaged him at 15s. a week — he did not however stay
long at London, for Ashbury, hearing he was dis*
satisfied with his situation, engaged him for £60 a
year and a clear benefit — which in those times was
more than any other actor had.
When Wilks settled finally at D. L., Chetwood
says that Ashbury was so unwilling to part from him
that he procured an order from the Lord Lieutenant
to prevent his going, and that Wilks, hearing of this,
made his escape privately — Hitchcock says that Ash*
bury and Wilks parted friends — which is more pro-
bable, as Wilks returned to act under Ashbury in
1711 — and wrote him a letter in 1714i in which he
says << I am proud to own, that all the success I
<< have met with, both with you, and in England
'^ on the stage, has been entirely owing to the early
" impressions I received from You."
Booth was born in I68L — he was educated at
Westminster, and at I7 was designed for the Uni-
versity, but having a passion for the stage in conse-
quence of the applause he had received while at
school, in acting Pamphilus in the Andria of Te-
rence, he applied to Betterton— Betterton civilly
refused to engage him, not wishing to disoblige his
friends — this made Booth resolve for Ireland, where
he arrived in June I698 — under the instruction of
Ashbury he made his first appearance in Oroonoko,
and acquitted himself so much to the satisfaction of
a crowded audience that Ashbury made him a pre-
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IRISH STAGE. 277
sent of 5 Guineas, which was the more acceptable,
as his last shilling was reduced to brass — he told
Chetwood that as he waited to go on in the last
scene, it being warm weather, he inadvertently
wiped his^face, which gave him the appearance of a
chimney-sweeper, and occasioned a variety of noises
in the audience on his entrance--this at first a little
confounded him (for he knew not what he had done)
till an extraordinary clap of applause settled his
mind — the next night an actress fitted a crape to
his face — but one part of it slipt off in the first
scene — ^* and Zounds,"' said he (for he was a little
apt to swear) ^< I looked like a magpie— they lamp-
** blacked me for the rest of the night — and I was
"flayed before I could get it off again.'*
He remained in Dublin near 2 years, and in that
time^ by letters reconciled himself to his friends in
England — he was engaged at L. L F. in 17OO.
Trefusis was the original Trapland in Love for
Love 1695 — he went to Ireland in company with
Husband about 1696 — he had a long chin and na-
turally a most consummately foolish face — yet he
was a person of infinite humour and shrewd con-
ceits, with a particular tone of voice and manner
lliat gave a double satisfaction to what he said — he
was so inimitable in dancing the Clown, that Gene-
ral Ingoldsby was highly pleased with him, and sent
him 5 Guineas from the box where he sat — honest
Joe (for so he was usually called) dressed himself
the next day and went to the Castle to return thanks
— the General was hard to be persuaded that it was
the same person — but Joe soon convinced him by
saying " Ise the very Mon, an't please your Ex-cell-
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S78 IRISH STAGE.
<< en-cey*' and at the same time twirling his bat as
he did in the dance, with his peculiarly foolish face
and scrape — ** Nay now I am convinced/' refdied the
General laughing, << and thou shalt not show sudi
<< a face for nothing here** — so he gave him 5 Gui-
neas more, with which Joe was very well pleased.
Chetwoad.
Farquhar is said in the B. D. to have accompanied
his friend Wilks to England— when the latter was
engi^ed at D. L»— it seems however more probable
that Farquhar went to London before Wilks — ^in Far-
quhar's Works there is an Epilogue spoken by Wilks
on his 1st app. at that theatre, as an actor of conse-
quence— previously to this, Farquhar had been fin*
a short time on the Dublin stage-^he had a very
good person, but a weak voice — he never received
any repulse from the audience, and might have
improved by practice — but having the misfortune to
wound an actor, by using a sword instead of a foil»
he determined to quit the stage — in 1704 he again
visited Dublin and acted Sir Harry Wildair for his
benefit— but this attempt, tho' it put £100 into his
pocket, proved no increase to his theatrical reputa*
tion— he did not acquit himself to the satisfaction of
his friends.
Od Dec. 26 1701 the galleries of the theatre^,
being imcommonly crowded, gave way — and tho'
no lives were lost, yet several persons were hurt in
endeavouring to get out— as this was the first night
of Sbadwell's Libertine, it gave occasion to foolish
people to say that it was a judgment on the specta-
tors for going to so imfNroper a play-«-nay soooe
carried their extravagance so far as to assert that
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IRISH STAGE. ^9
there was a Dancer extraordinary among the Devils,
with a doven foot, and whom nobody knew — this
drcnmstance occasioned the Libertine to be laid
aside for 20 years* {Hitchcock.)
A similar circumstance is mentioned by Jackson
in his History of the Scottish stage p. 19— he says —
*< In one of Rich's celebrated Pantomimes, in L.LF.,
^* I believe the Sorcerer, a dance of infernals was^to
'* be exhibited — they were represented in dresses of
'* blade and red, with fiery eyes and snaky locks, and
** garnished with every appendage of horror — they
^< were twelve in number — in the middle of their
<< performance, while they were intent upon the
<^ figure in which they had been completly practised,
'^ an actor of some humour, who had been accommo-
<< dated with a spare dress for the occasion, appeared
'< among them-— he was, if possible, more terrific than
^« the rest, and seemed to the beholders as designed
<< by the conductor for the principal fiend — his fellow-
<< fiiriee took the alarm, they knew he did not belong
<< to them, and they judged him an infernal in ear-
<< nest — thdr fears were excited, a general panic sue-
*' eeeded, and the whole group fled different ways —
** some to their dressing-rooms, and others through
'^ the streets to their own homes, in order to avoid
<* the destruction which they believed was coming
*< upon them, for the profane mockery they had been
«* guilty of— the ODD DEVIL was non inventus —
'< he took himself invisibly away, thro' fears of ano«
<^ ther kind — he was, however, seen by many, in
<« imagination, to fly throi:^h the roof of the house,
<< and they fanded themselves almost suffocated with
«< the stench he had left* behind — the confusion of
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S80 IRISH STAGE.
" tbe audience is scarcely to be conceived — they re-
<* tired to their families, informing them of this sop-
** posed appearance of the devil, with many of bis
<< additional frolicks in the exploit — and so thorough-
<< ly was its reality believed, that every official ex-
<' planation that could be made the following day,
« could not entirely do away the idea * * an expla-
^* nation of the above circumstance I had from Mr.
** Rich, in the presence of his friend Bencraft, the
*< contriver, if not the actor, of it, who designed it
*< only as an innocent frolick to confuse the dancers,
*< without adverting to the serious consequences that
** might ensue."
In 1711 Wilks paid Ireland another visit; he
stayed 3 months, and during that time he acted his
favourite character of Sir Harry Wildair 19 nights
s uccessively . ( Hitchcock. )
Ashbury was appointed Master of the Revels and
Patentee in 168S, but some needy courtier having
made interest for the place, he thought it necessary
to go to England in 1713, when a friend of his told
him, he would put her Majesty << in mind of her old
** Master" — for Ashbury had taught the Princess
Anne the part of Semandra in Mithridates, wh^
that Tragedy was acted at Whitehall by persons of
the first rank — he was the prompter and conducted
the whole.
1715. Shadwell's Timon of Athens. Timon =
Thomas El rington : A Icibiades = Evans : Apeman*
tus = Ashbury: iBlius = Trefusis : Cleon = Qoin:
Evandra=:Mrs. Thurmond : Melissa = Mrs. Wilkins:
— Evans is the actor mentioned in the account of
the English Stage 1763— he had an excellent hanno-
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IRISH STAGE. 281
nious voice and just delivery, but was fat and too
indolent for much study.
Tamerlane — Tamerlane = Ashbury : Bajazet =
T. Elrington : Axalla = Leigh : Moneses = Evans :
Prince of Tanais = Quin : Arpasia = Mrs. Thur-
mond : — Leigh seems to have been the actor who
was at L. L F., and who is said to have acted Plume
in 1714, the first night that theatre was opened by
the Younger Rich --which seems a little incompati-
ble with the above bill— Ghetwood has probably said
171^ instead of 1714.
Committee. Teague = Griffith : Obediah =. Tre-
fusis : Day = F. Elrington : Col. Careless = Ash«
bury : Col. Blunt = T. Elrington : Abel = Quin :
Mrs. Day = Mrs. Martin : (the original Mi*s.
Peachum and Diana Trapes) Ruth = Mrs. Thur-
mond : Arbella = Mrs. Ashbury : Mrs. Chat =
Miss Schoolding : Chetwood says that Ashbury
died at the age of 82 on July 21 1720— but from
the papers in the British Museum he seems to
have died on Aug. 12 — He appears to have been
possessed of much judgment in theatrical affairs —
and under his management of the Irish Stage, it rose
to a degree of respectability, which it had not previ-
ously experienced — he was succeeded in his direction
of the Theatre by his son in law, Thomas Elrington,
who was well qualified for the situation, f Hitchcock.)
The Rival Generals was printed in 1722— Astra-
mont (the Venetian General)^ = Elrington Sen.:
Honorio (his friend — in love with Sigismunda) =
Giffard : Guiscardo (the Genoese General) = Hus*
band : lagello (Doge of Genoa) = Smith : Spinoli
(a Genoese) = Fr. Elrington : Perolto (an officer
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282 IRISH STAGE.
under Guiscardo)»Fri8by : Lorenzo (an officer un-
der tbe Doge) = R. Elrington : Eloisa (sister to Ho-
norio) = Mrs* Knapp : Leonalta (the Doge's wife) =
Mrs. Lyddel : Sigismunda (his daughter by a former
wife — in love with Honorio) = Miss Lyddel : —
Astramont was encamped within a league of
Genoa — on the evening before tbe play begins,
he had married Eloisa — at night his camp was
attacked by Guiscardo — Astramont, Honorio and
Eloisa are made prisoners — the victory was gained
by the treachery of Spinoli» who had deserted to As-
tramont with a view to betray him — the chief prison-
ers are brought before the Doge — the D<^e falls in
love vrith Eloisa — Leonalta falls in love with Astra-
mont — the Doge and Guiscardo quarrel — Leonalta
conceals Astramont and Honorio in a private part of
the palace — the Doge finds Astramont and Eloisa
together— he prepares to stab Astramont — Leonalta
enters, and threatens to stab Eloisa— tbe Doge goes
off to oppose Guiscardo — the Doge and Guiscardo
fight — tbe D(^e is killed — Lorenzo sets the Venetian
prisoners at liberty — Astramont and Guiscardo fight
-^Guiscardo falls — Leonalta determines to spend the
remainder of her days in a cloister — Spinoli ravishes
Sigismunda — he is killed by Perolto — Sigismunda
takes poison — she dies — Honorio falls on his sword —
Astramont and Eloisa conclude the play — the Senate
of Genoa offers Astramont terms of peace — he ac-
cepts them — this T. was written by Sterling— it is on
the whole a poor play — the youth of the author is
someexcuse for his want of judgment — Leonalta gives
us 6 lines about the Royal magic with which the
British Monarchs cured the evil— and AstraooMxit, in
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IRISH STAGE. 283
a critical situatioo, concludes the 4th act with 9 lines
aboat Troy — the author in his dedication congratu-
lates himself pn having first awaked the Irish Muse
to Tragedy — the same assertion is repeated in some
complimentary verses by Concanen, and in the Epi-
logue— but Rhoderick O'Connor was printed in 1720,
and it bad been previously acted — we must therefore
conclude that the Rival Generals was brought out
some years before it was printed.
The 5 pieces which Charles Shadwell wrote for
the Irish Stage, are said, by the Editor of the B. D.,
to have been printed in one vol. ls2mo. 17^0— there
is another edition in 1727 in small octavo ^the
pieces were —
I. Hasty Wedding, or the Intriguing Squire* Sir
Ambrose Wealthy (a banker) = Vanderbank : Sir
John Dareall=:Dumott : Squire Daudle = Griffith :
Sir Jeremy Daudle (his father — entirely governed by
his wife and son) zz Hallam : Townly (a younger
brother of a good family — in love with Aurelia) =
Giffiurd : Timothy (cash-keeper to Sir Ambrose) =
Trefusis : Aurelia (daughter to Sir Ambrose — in love
with Townly) =; Miss Molly Lyddall : Mrs* Friend*
less (a supposed widow) = Mrs. Vanderbank : Her-
riot (her daughter) = Miss Nanny Lyddall : Lady
Daudle = Mrs. Lyddall : Lettice (maid to Aurelia) =:
Mrs. Martin :— ^Sir Ambrose Wealthy is very soli-
citous about what he conceives to be his daughter's
happiness — he insists that she should marry Dareall,
who has passed himself on Sir Ambrose for a Baro-
net, but who is really a sharper— Sir Ambrose orders
Aurelia not to go to the house of Mrs, Friendless —
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QS4f IRISH STAGE.
she goes notwithstanding, as she expects to meet
Townly— Sir Ambrose sees her go into the house-
he follows her— he is so angry with Aurelia, that he
makes Mrs. Friendless an immediate offer of mar-
riage— she accepts it» and a Hasty Wedding takes
place — Mrs, Friendless and Herriot had been pre-
viously supported by the bounty of Aurelia — they
now treat her with ingratitude and insolence — Sir
Ambrose is highly offended at their treatment of bis
daughter— -he consents to her union with Townly—
Townly receives a letter, from which it appears that
the first husband of Mrs Friendless is still alive, and
that her marriage with Sir Ambrose is invalid — Sir
Ambrose is highly delighted — Squire Daudle gives
the 2d title to the play — he values himself much on
his intrigues, in which he always miscarries — this is
a moderate C— the Prologue says ^
" Encouraged by your last year's kind applause,
** Our poet once again submits his cause/'
2. Sham Prince, or News from Passau. Shred
(a tailor) = Griffith : Trip (Welldon's footman) =
Dummut : Sir William Cheatly (the Sham Prince)
r= Lyddal : Sir Bullet Airy = Vaiiderbank : Old
Cheatly (father to Sir William — a notorious cheat) =
Rogers: Welldon = Giffard : Trueman = John Wat-
son : Seville C^ merchant) = Hallam : Kersey (a
draper) = Dogherty : Bailiff = Trefusis : Aramiota
= Mrs. Giffard : Lady Homebred = Mrs. Lyddal :
Miss Molly and Miss Nancy fher daughters) = Miss
Schoolding and Miss Nancy Lyddell : Mrs. Seville
= Mr8. Yanderbank : — Old Cheatly had given out
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IRISH STAGE. 285
that a great fortune had fallen to his son — ^the son
assumes the name of Sir William, and dresses him*
self as a person of rank — Welldon forms a scheme
for exposing Sir William _ he gives Sir William a
letter, which he pretends to have received from Grer-
many» and in which it is said, that the Princess of
Passau wishes to marry Sir William — Sir William
shows the letter to his father— the father reads it to
Shred, Kersey and Seville, who had been importu-
nate for their money — the tradesmen are quite sa«
tisfied— Sir William has some doubts as to the truth
of the story— Old Cheatly protests to his son, that he
had been transacting the affair for three months— he
is really surprised at the letter, but determines to
make it answer his own ends — Welldon finds that
his joke is become serious— he puts Shred and Kersey
on their guard against Sir William — ^they prepare to
arrest him — Seville tells them that an ambassadour is
arrived from the Princess — Shred and Kersey again
become credulous — the supposed ambassadour is
Trip dressed up as a German-- in the last scene,
Welldon has two bailiffs ready to arrest Sir William
—Old Cheatly smells powder — ^he makes his exit,
and contrives to get his son off by a trick this C.
was written in 5 days, and studied in 10 more— it is
a poor play, but it was acted with some success, as it
related to a recent event, and was meant to expose
an Impostor, who had not only taken in many trades-
men at Dublin, but had imposed on several persons
of superiour sense and reputation— this play seems
to have been acted in 1719, as a letter from the sup-
posed Princess is dated April 1 1719 — Mrs. Giffard
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286 IRISH STAGE.
was Mi88 Lydall, Giffard's l8t wife — not the actress
who came with him to England.
S. Rotherick O'Connor, King of Connaught, or
the Distressed Princess. Rotherick O'Connor, King
of Connaught = Rogers : Dermond Mac Morough,
Kingof Leinster=Dummat : Regan (his friend and
fayourite) = Giilford : (probably Giifard) Catholicas,
Ardibishop of Tuam (a worthless prelate) = Van-
derbank: Strongbow, Earl of Chepstow (commander
of the English) = Layfield : Cothurnus (son of Der-
mond—a hostage in the hands of Rotherick — ^in love
with Avelina) = EIrington : Mortagh =: Dogherty :
Eva (daughter to Dermond) = Mrs. Giffard : Ave*
lina (daughtOT to Rotherick- in love vnth Cothemus)
= Mrs. Moreao : — the plot of this play is founded on
history — the King of Leinster, on being expelled
from his dominions by the King of Connaught, had
solicited, and obtained the assistance of the English,
in the time of Henry the 2d— Rotherick is a tyrant-^
Dermond had governed badly — Regan and Eva are
mutually in love — she had been concealed in the cot-
tage of Mortagh — her father sends for her, and in-
forms her by letter, that he had betrothed her to
Strongbow — Regan and Eva, on their journey, are
taken prisoners by the soldiers of Rotherick — ^Ro-
therick falls in love with Eva — he attempts to ravish
her — she draws a da^er, and wounds him — Rothe-
rick forces the dagger from her — he becomes faint,
and is carried off by his guards — Rotheridc kilb
Cothurnus— Avelina stabs herself— Regan and Eva
had been committed to the care of Catholicus — Ca-
tholicus has no object in view except his own inte-
rest—he now deserts Rotherick^ and goes with Regan
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IRISH 8TA&E. 287
and Eva to the camp of Dermond — Strongbow
presses Dermond that the marriage between him and
Eva may be celebrated immediately — she pleads for
delay — Catholicos tells Strongbow^ that Eva is in
love with Regan — Strongbow orders his guards to
seize Regan — Regan resists them, and is killed —
Rotherick enters with a drawn sword— he kills Ca-
tholicns— and again attempts to ravish Eva — she
calls for help, and Dermond comes to her assistance
— Rotherick and Dermond fight — Dermond falls —
Rotherick and Strongbow fight — Rotherick is killed
— Strongbow sends Eva to a monastery — but still
hopes that she will marry him, when her grief has
sabsided on the whole this is not a bad T. — but
the blank verse is, at times, very lame.
Annexed to this play is a Prologue to the Drum-
mer, when the Ladies gave Miss Mary Lyddal a new
snibof clothes— Griffith tells her
<< When thus equipt, we see a female actor,
" 'Tis shrewdly fear'd, she is a love contractor."
4. Plotting Lovers, or the Dismal Squire. Squire
Trelooby = Griffith : Witwou'd = Vanderbank :
Love well = GiflFard : Tradewell = Hallam ; 1st Phy-
sician = Dummutt : Gelia = Miss Wolfe : — in the pre-
face, this F. is said to be translated from Moliere's
Monsieur de Pourceaugnac — it is not, however, a
new translation, but only the translation of 1704
rednced to one act — ^with some slight alterations, so
as to fit it for the Irish stage.
5, Irish Hospitality. Sir Patrick Worthy = Evans:
Charles Wwthy = Elrington Sen. : Sir Jowler Ken-
nels Griffith : Trusty =:Elrington Jun, : Clum8ey=
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«288 IRISH STAUC.
Hallam : Morose = Vanderbank : Ned Generous =
Thomas : Sir Wou'dbe Generous = Dogharty : Goo^i-
love=:DumD[iut : Poor Man = Trefusis : Winnifred =
Miss Mary Lyddall : Penelope = Mrs. Vanderbank :
Mj^aziMiss Wiston : Lady Peevish = Mrs. Lyddall :
Lucy = Mrs. Martin ; — see D. L. March 15 I766.
C. Shad^elPs Fair Quaker of Deal, and his Hu-
mours of the Army are very superiour to the plays
which he wrote in Ireland.
Fatal Extravagance was acted and printed in
Dublin, with the following cast, in ly^l* Belmour
= Elrington : Courtney = GifFard : Bargrave =
Smith : Louisa = Mrs. GifFard;— with the following
observation — '^ N. B. this edition is exactly correct
^< according to the English Copy, whereas that done
" in Smock- Ally is full of errors" — see L. L F. April
21 1721.
Many of the London actors occasionally visited
Dublin, and most of the new pieces brought out in
England were carefully gotten up and exhibited with
credit
In 1727 Madame Yiolante, an Italian,* opened a
booth for rope dancing, in which she performed a
principal part herself— but finding this scheme fail
after a certain time, she formed a company of
children, the eldest not above ten years of age — these
she instructed in several petit pieces — and as the
Beggar's Opera was then in high estimation, she
perfected her Lilliputian troop in it, and having pro-
• In Oct. 1726 she was performing on the rope in London —
on Oct. 23 1727 she exhibited herself at the Hay. (B. M.)
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IRISH STAGE. 289
cared proper scenery, dresses* and decorations, she
brought it oat before it had been seen in Dublin—
the novelty of the sight, the uncommon abilities of
tbe little performers, and the great merit of the
piece, attracted the notice of the town to an extra-
ordinary degree — Miss Betty Barnes, who as Mrs.
Martin and Mrs. Workman, proved a good actress,
personated Capt Macheath — the afterwards well
known Isaac Sparks was Peachum — Master Beams-
ley was Lockit — Master Harrington, who afterwards
made a considerable figure in Irishmen and low
Comedy, was Filch — Miss Ruth Jenks was Lucy —
Miss Mackey was Mrs. Peachum, and to crown all.
Miss WoflSngton was Polly.
Giffard left Ireland in 1729 — see Goodman's
Fields 1732.1733.
In 1728 Delane, who was an Irishman, and who
had been educated at Trinity College, made his first
app. on the stage, and was well received— he was
young and handsome — ^he had an elegant figure, a
powerful voice, a pleasing address, and tolerably
easy action— he was somewhat deficient in judgment
—but with the million that was easily overlooked,
and as his years encreased his judgment ripened —
be soon grew a great favourite with the public, and
supported a large cast of characters (particularly
Alexander and Young Bevil) with reputation — in
1731 he engaged at G. F. — see Nov. 24.
March 22 1731 . Ward's benefit. Richard the 3d.
King Henry =:EIrington : Duke of Glosterz: Ward :
Buckingham = Ralph Elrington : Richmond = De-
lane: Lady Anne = Mrs. Sterling: Queen Elizabeth
= Mr8. Ward :— with What d'ye call it ? Timothy
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QQO IRISH STAGE.
Peascod (with a humorous Prologue) = l^ayfield :
Sir Roger = Vanderbank: Kitty Carrot = Mrs*
Ward.
In 1731 a set of Gentlemen, who were Masons,
bespoke Cato» and acted the male characters them-
selves—the prices were advanced, and so crowded
and brilliant an audience had never been seen in
Dublin — Griffith the actor was Secretary to the
grand Lodge, and greatly beloved by the brother-
hood— his benefits were in consequence bespoken
by the grand Master, who attended by his brethren
always walked in procession to the theatre, and sat
on the stage on those nights— this circumstance en*
sured Griffith a full house, from which and his gold
tickets he reaped great emolument. (Hitchcock.)
On his first commencing actor he contracted a
friendship with Wilks, which lasted till the death of
the latter — Wilks took him to London tho' he was
very young, and had him engaged at a small salary
for that season — the Indian Emperour being ordered
to be played on a sudden, Griffith with some diffi-
culty procured the part of Pizarro — Betterton being
a little indisposed would not venture out to rehearsal,
for fear of increasing his indisposition to the dis-
appointment of the audience — consequently he had
not seen little Griffith rehearse, but when he came
ready at the entrance, his ears were struck with a
voice not familiar to him, and casting his eyes on the
stage he beheld the diminutive Pizarro, with a Trun-
cheon as long as himself — on this he went up to
Downes the Prompter, and cried '< Zounds Downes
*< what sucking Scaramouch have you sent on there ?^
^* Sir,'* replied Downes, " He's good enough for a
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IRISH 8TAUF. 291
<< Spaniard and the part is but BorialP' — ** if it had
*< been but two lines" said Betterton, <Mt would have
** been too much for such a monkey in buskins" —
poor Griffith stood on the stage near the door and
heard eyer syllable of this short dialogue — he knew
who was meant by it, but happily he had no more
to speak that scene — at the end of the 1st act, he
went by the advice of Downes to make his excuse to
Betterton, and said ** Indeed Sir I had not taken the
'* part, but there was only I alone out of the Play" —
" I, I," replied Betterton with a smile, *^ thou art
^< bat the tittle of an I, and after this night let me
** never see a Truncheon in thy hand again, unless
** to 8t)r the fire*' — he took this advice, laid aside the
buskin, and stuck to the sock, in which he made a
figure equal to most of his contemporaries — in a bill
of the Mock Alexander he advertised himself thus —
the part of Alexander the Great by little Griffiths
(CAetwood.)
Griffith acted Teague at D. L. April 12th 1712,
and Ned Blunt May 3d.
Love and Ambition. Reseck (a General in rebel-
lion—in love with Alzeyda) = Ebington : Matheady
(the old King of a part of Arabia) = Fr. Elrington :
Odamar^ (joined with Reseck — privately in love with
Leiza)=:yanderbank : Cosmez (the King's General
— in love with Alzeyda) = Layfield: Samur (the
King's son — in love with Leiza) = Ra. Elrington :
Haly (Captain of the King's guard) = Jo. Elrington :
Alzeida (the King's daughter —in love with Cosmez)
=:M]ss Elrington : Leiza(Reseck'8 daughter— in love
with Samur) = Mrs. Sterling : — Matheady is besieged
in his capital city by Reseck — Odamar by a feint
u 2
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^Q2 IRISH 8TAOE.
decoys Leiza from her father— he attempts to ravish
her — Samur rescues her, and takes Odamar prisoner
— Gosmez and Samur had agreed to attack Reseck's
camp by night — owing to the delay of Samur, the
attack is not attended with much success — Odamar
persuades Haly to set him at liberty, and to betray
the city to Reseck— Odamar is dragging off Leiza—
Reseck enters, and stabs Odamar — Reseck and Ma-
theady fight — the old King is disarmed — Alzeyda
threatens to stab herself, if Reseck should kill her
father — Reseck is distracted between Love and Am-
bition — Haly tells the King that Samur had died
fighting — Cosmez enters with fresh troops — he seizes
Reseck — Leiza stabs herself— Reseck is condemned
to a cruel death — the old King gives his daughter to
Cosmez — and resigns the crown to them — this is an
indifferent T. by Darcy — it was printed in 1732—
but some complimentary verses, addressed to the au-
thor, are dated Dec. 15 1731— Darcy says in his pre-
face—^< I found this story on the spot where it hap-
<< pened, and where I place the scene — and Siddy-
<< Cosm, whom I call Cosmez, was the reigning king
** when I was in Arabia, and, for any thing I know,
<< is so still— the underplot of Odamar and Leiza is
** invention, as are several things in the main one
«« • * I can add nothing to the reputation of Elring-
<* ton, but of his brother Francis I must say, I would
<< prefer him in the present part, as in many others
*< which he plays, to any one even in England —
" Mrs. Sterling, in every one*s opinion, as well as in
*< mine, deserves all the encomiums we can bestor
" on her : — Miss Nancy EIrington play'd Alzeyda
<< the Sd or 4th time of her appearing on the stage
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IRISH STAOE. 293
'' —and I appeal to all those that eaw her, if she does
<* not promise to make the greatest actress that we
" ever had in Ireland/'
July 1732 Thomas EIrington died aged 4t4t — his
last time of acting was about a month before in Lord
Townly, and for the bt of Vanderbank, an actor of
some reputation. {Hitchcock. J
EIrington was originally apprentice to an uphol-
sterer in Covent Garden—he used at that time to act
privately — Chetwood one day took him the play of
Sophonisba, that he might study the part lof Massi-
nissa— his master, a passionate Frenchman, coming
in, he thrust the book under the velvet of a cushion
that he was finishing, and to avoid detection, he was
obliged to stiteh it up in the cushion, while he and
Chetwood exchanged many a desponding look, and
every stiteh went to both their hearts — at another
time they got up Hamlet — EIrington was the Ghost
— the Frenchman had intelligence of what they were
about, and to their great mortification made one of
the audience — while the Ghost was silent, he only
muttered between his teeth, and they were in hopes
his passion would subside— but when the Ghost said
** Msrk me,*' he jumped up, and beat the poor Ghost
off the stage.
Elrington's first app. in a public theatre was at
D. L. on Dec. 2 I709 in Oroonoko — in the course
of the season he acted Capt Plume — Ghost in (Edi-
pus — ^Ciibbage in fair Quaker, &c. In the sum-
mer, under Pinkethman at Greenwich, he acted se-
veral parts of importance.
In 1710-1711 and 1711-1712 he was at D. L. and
acted such parts as Don Duart and Seyton.
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S94 IRISH STAGE.
In 1712-1713 and 1713-1714 he was at Dublin, to
which place he had been invited by Ashbury.
In 1714-171.5 he was at D. L. and acted Cassias
— Torrismond— Hotspur — Orestes — Sylla in Caius
Marius — Mithridates — * Pembroke in Lady Jane
Gray.
In I715-I716 he was in Ireland.
In 1716-1717 he was at L. I. F. and acted Ham-
let— Essex — CEdipus — Elder Wou*dbe — Biron—
Carlos in Love makes a man — *Courtwell in Wo-
man's a Riddle --Cortez in Indian Emperour— Don
Sebastian— * Sir Harry Freelove in Artful Husband
— Varanes — Alexander — Macduff —Armusia in
Island Princess.
In 1717*1713 he was probably in Ireland.
In I7I8-I719 at D. L. Don Sanchez in Ximena
— Bajazet — Chamont — *Ombre in Masquerade —
*Busiiis.
He was probably in Ireland from 1719-17^0-"^
1728-1729 when he acted at D. L. Osmyn— OtheUo
— King in Henry 4th pt. 2d — Lothario — Cato —
Antony in all for Love. * OriginaUjf.
When he was a young man he wanted to play
Torrismond, which Gibber opposed with all his migbt
— a Nobleman of some eminence desired him to give
his reasons for this—" Why my Lord" said Gibber,
" it is not with us as with you — your Lordship is
" sensible that there is no difficulty in filling places
" at Court, you cannot be at a loss for persons to act
*< their part there— but I assure you it is quite other-
" wise in our theatrical world — if we should infest
" people with characters which they are unable to
" support, we should be undone.*' (Davies.)
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JRISH 8TAOS. iQ5
After Elrington had acquired a oonsiderable re^
potation in DuUin, he came to try his fortune again
in London— his first part was fiajazet — Booth was
Tamerlane — being in full force, and perhaps anima^
ted with a spirit of emulation towards the new Ba-
jazety he exerted all his powers — and Elrington own-
ed to his friendSf that having never felt the force of
such an actor, he was not aware that it was in the
power of a mortal to soar so much above him and
shrink him into nothing— (ViicftTr) — when the mana-
gers gave him Bajazet in preference to John Mills,
at which the latter was much displeased, Booth said,
Elrington would make nine such actors as Mills —
during the illness of Booth in 1728-1729 Ehington
was the principal support of D. L. in Tragedy — at
that time the mani^ers were so well convinced of his
importance to them, that they ofifered him his own
conditions, if he would engage with them for a term
of years — Elrington replied ** I am truly sensible of
<< the value of your offer, but in Ireland I am so well
'< rewarded for my services, that I cannot think of
<* leaving it on any consideration — there is not a
" Gentleman's house to which I am not a welcome
« visitor.*' {Dames.)
His figure was tall and well proportioned, his
voice strong, manly and pleasing — his surprise in
Oroonoko, on unexpectedly meeting with Imoinda,
charmed all who saw his action and heard his ex-
pression— Macklin spoke to Davies of his excellence
in this scene with rapture— Elrington had seen Ver-
bruggen and acted Oroonoko in his manner.
He was the first person that played Zanga in
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996 IRISH STAaE.
Dubliii, and received the thanks of Dr. Young per-
8onalIy» who held him by the hand a considerable
time, and declared he had never seen the part done
such justice to as by him-— acknowledging with some
regret that Mills did but growl and mouth the cha-
racter— (Lee Lewes) — Elrington had likewise a con-
siderable fund of humour — he acted Don Lewis in
Love makes a Man almost as well as Pinkethman.
(Chetwood.)
The management seems to ^ have devolved on
Francis Elrington, who was brother to the deceased
and who gave satisfaction in several capital charac-
ters — on Layfield who was a tolerable actor — and
on Griffith.
Owing to some cause or other, the affairs of the
theatre soon began to wear an unpromising aspect—
however at first they proceeded with spirit, and open-
ed Oct. 5 1732 with the Island Princess, an Opera
taken from Fletcher's play of the same name.
(Hitchcock.)
About this time Madame Violante let her booth
for £3 per week to Luke Sparks, John Barrington
and Miss Mackey — if Hitchcock be right in saying
that the last two were under 10 years of age when
they played in the Beggar's Opera, they must still
have been children — but he was in all probability
mistaken in that point.
They opened with the Inconstant. Young Mira-
bel = Sparks : Duretete = Barrington : Bisarre =
Miss Mackey : — she had soon after a benefit which
brought her £40 — the success of this alarmed the
managers of S. A. and caused them to apply to the
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IRISH 8TAOE. S97
Lord Mayor, wbo» interposing with his authority,
prevented the young adventurers from acting any
more.
This gave rise to the building of a theatre in
Rainsford Street, which was out of the jurisdiction
of the Mayor, and in the liberty of the Earl of Meath
—this theatre was a neat compact building, capable
of containing £100 at common prices, which they
never raised but at benefits— the first play performed
there was Love for Love. Sir Sampson Legend =
Moore : Valentine = Husband : Tattle = Ravens-
croft : Foresight = Bourne : Ben = Sparks : Jeremy
=:Rock: Angelica = Mrs. Ravenscroft: Mrs. Fore-
sight = Mrs. Smith : Mrs. Frail = Miss Mackey :
Miss Prue=:Miss Barnes : — Hitchcock supposes this
was in 1732 or 33 — this theatre was under the di-
rection of Husband, who was early attached to the
stage, but was 2 years before he could get admission
on it -— at last he obtained the part of Sir Walter
Raleigh in the Earl of Essex, in which he acquitted
himself so well, that the next day he received ten
shillings, the usual stipend of young actors per week
~ he soon after gained better parts and a larger
salary — in 1696 Dogget, being then at Dublin, recom-
mended him to Ashbury as a promising young actor
*- in consequence of this he embarked for Ireland
^th Trefusis — he passed and re-passed several
times from one country to the other, till he finaUy
settled in Ireland, where he was much respected
both on and off the stage. ( Chetwood.)
Benjamin Husband was at D. L. in 1702 — from
1705-1706 to I7IS.1714 he was at Hay. and D. L.
--on the opening of L. L F. in 1714-1715 he joined
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298 IRISH STAGE.
Richi but even there he obtained few parts of im-
portance—he continued at that theatre till 1717-
I7I8— after which he probably settled in Ireland —
Chetwood is mistaken in supposing that he did so ia
1713.
It is clear fi*oin what is said of Richmore in the
Twin Rivals, and of Freeman in Woman's Re-
venge, two parts which he acted originaUy, that he
was a remarkably stout strong man.
General Advertiser March 20 1746 — Dublin
March 11th — Husband, the oldest actor now living
(and as such the Father of the Stage) will have a
benefit some timeXbefore Easter, and Garrick stays
on purpose to play for him. (£. M.)
Husband was the original Don Philip in She
wou'd and she wouM not — Lorenzo in Mistake —
Qffa in Royal Convert — Catesby in Jane Shore.
He acted Glendower — Townly in London Cuck-
olds— Cassander — Scandal — Biron -« Don John in
Libertine — Vainlove in Old Batchelor — Elder
Worthy in Love's Last Shift — Constant in Pro-
voked Wife.
As S. A. had been for some^time in a state of decay,
the late Mr. Elrington had formed a design of build-
ing a new theatre — no sooner were his intentions
known than an ample subscription was entered into
by many Noblemen and Gentlemen — a large lot of
ground near Aungier Street was purchased, and the
first stone was laid May 8 1733— tJie company in the
mean time played at S. A. — Delane and Ryan ar-
rived from London for the after season, and made
their 1st app. June 25 17S3 in Macbeth — Macbeth
= Delane : Macduff = Ryan : they drew a crowded
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IRI6H STAGE. S99
house, and gave great aatisfiiction their next
play was the Provoked Hasband. Lord Townlyrs
Delane : Manly == Ryan : then followed Henry the
4th and Hamlet — Othello for Delane's benefit, and
the Constant Couple for Ryan's — when the theatre
closed, in July, they went with the company to
Cork.
The usual performers on their return to DuUin
opened with what is called a government play — the
Manager of the Theatre Royal receives a certain
sum annually from government, for the performance
of plays on particular nights — * on these nights the
Ladies are always complimented with the freedom of
the Boxes, but only those of the first rank and dis-
tinction availed themselves of this privilege — this
castom was established on the first rise of the stage
in Ireland — these nights were considered as the
most fashionable in the season — and so essentially
necessary was the presence of the Lord Lieutenant
considered on these occasions, that Nov. 4 1714 Ta-
merlane, which was usually acted on that evening
out of compliment to the memory of William the Sd,
was by command not to begin, till an entertainment
given by the city to the Lord Lieutenant was over.
Nov. 4 1733. Love for Love was acted with the
strength of the company, and attended by the Lord
Lieutenant, and a very brilliant audience.
These government nights continued fashionable
till the management of Barry and Woodward, when
for some reason or other, they fell into disrepute,
^d in Hitchcock's time, they became the very
I'everse of what they used to be, few persons
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300 IRISH STAGE.
of credit resorting to the theatre on these occa-
sions. (^Hitchcock.)
All Vows Kept — this play was printed and pro-
bably acted in 1733 — Herculeo = Jo. Elrington :
Trivoltio = Ra. Elrington : Count Ursino = Philips :
Vincentio (his son) = Watson : Count Collonni =
Fra. Elrington : Bumbardo = Layfield : Pedro =
Vanderbank : Lopez =: Griffith : Parthenia = Mrs.
Bellamy : Ariomana = Mrs. Neale : LaviniariMrs.
Wrightson : Nurse = Miss Butcher : — Scene Verona
—there had been a mortal feud between Ursino and
Collonni — the latter had been severely wounded -—
he is supposed to be dead — he appears to his son,
Herculeo, as his own Ghost — and conjures him to
be reconciled to Ursino — Ariomana and Parthenia
are the twin-daughters of Ursino, and so like as
hardly to be known from one another — Trivoltio in-
troduces Herculeo to Ursino as Count Verrua —
Parthenia disguises herself as a boy — assumes the
name of Romeo — and becomes Page to Herculeo,
with whom she is in love — Herculeo is in love with
both the sisters, but gives the preference to Ario-
mana — at the conclusion he marries Parthenia —
Trivoltio marries Ariomana — Trivoltio had made a
vow never to marry any woman but Lavinia, except
it should be one who had saved his life — Herculeo
had made a vow to betroth himself to his supposed
page rather than any woman, except Ariomana —
Ariomana makes a vow rather to choose her greatest
enemy than the supposed Count Verrua — Herculeo
throws off his disguise — Ursino threatens Herculeo
with death, for having, as he believes, stolen Par-
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IRISH STAGE. 301
thenia — and TrivoUio, for having assisted him — Ari-:
omana begs Triyoltio's life — Parthenia discovers
herself Yincentio on a sudden falls in love with
Lavinia — she had vowed never to wed, unless her
father Collonni, should give her away — Collonni en-
ters and gives her to Yincentio— so that All Yows are
kept — Burabardo — Pedro — Lopez and the Nurse
are tolerable comic characters — this is on the whole
a poor play — ^it is attributed to Capt. Downes — the
aathor, in the Sd scene of the 5th act, has been
goilty of a most gross mistake — he makes Herculeo
address his page as Parthenia, instead of Romeo.
Such expedition was used in building Aungier
Street Theatre, that it was finished in exactly ten
months. (^Hitchcock.) — it was opened with the Re-
cruiting Officer. Plume = J. Elrington : Brazen =
R. Elrington : Bullock = F. Elrington : Kite == Yan-
derbank : Balance = Layfield : Sylvia = Mrs. Bel-
lamy : Melinda = Mrs. Wrightson : Lucy = Mrs.
Heynolds : Rose = Mrs. Moreau — Francis Elring-
ton has been already mentioned — Ralph was another
brother of the late manager, and Joseph was his
eldest son — his second son, Richard, went also on
the stage — much cannot be said in praise of this
company — Mrs. Bellamy was mother to the famous
George Anne Bellamy, who says that her mother
^8 tall in her person, striking in her figure, and
possessed of no small share of beauty, but from an
nnanimated formality about her, which proceeded
^m her being brought up among Quakers, she was
not well calculated for the stage — however she per-
formed with some degree of reputation.
Chetwood says expressly that this play was acted
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302 IRISH STAGE.
March 9 1733-4 — Hitchcock in copying him saya
simply 1733, without marking that he means O. S.—
this at first sight occasions a slight d^ee of confa-
sion—he also says the 1 9th of March instead of the
9th, a mistake of no importance, only it shews a
want of accuracy in Hitchcock, of which several in-
stances occur.
The expectations of the public were raised very
high with regard to this new theatre— the proprietors
were Noblemen and Gentlemen of the first rank,
who agreed to superintend the concerns of the stage,
and endeavour to advance its interests, without the
least idea of emolument in return — a Committee
was chosen from among them, a Chairman was ap-
pointed, and every Saturday they met to appoint
the plays, distribute the parts, and settle the other
business attending such an undertaking — all the
profits, instead of going into the purses of private
persons, were to be dedicated solely to the public
service— as the scheme extended itself, the best per-
formers were to be engaged, pieces of undoubted
merit were to be revived and brought forward, the
wardrobe and scenery were to be enlai^ed, and
every decoration adopted to adorn the theatre —
Hitchcock greatly commends this plan, and at first
it appears very plausible «^ but it may be doubted
whether a Committee be well calculated to regulate
the afiiftirs of the stage — and whether Homer's
maxim be not peculiarly applicable to the theatre.
Ovjc ay»9ov TroXvjcoipavtujy ug jcoipavog Bgu.
The plan adopted by the Committee failed, throagh
various reasons — they were guilty of a great mistake
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IRISH STAGE. 303
io ap|K>int]Dg a gentleman of the name of Swan deputy
manager, who, by his genteel behaviour, affability,
and good nature, gained the esteem of every one —
but who was almost a stranger to the affairs of a
theatre, and consequently very unfit for this situation
— ^the public soon observed that the company in gene-
ral had not merit equal to what they had a right to
expect — and they found that large sums had been ex*
pended on a house badly constructed — experience
proved that the architect had failed in accommodating
it for hearing and seeing— it required uncommon
powers of voice to fill every part of the house, and
on full nights many people in both galleries could
neither see nor hear — whereas in a theatre properly
designed, every person, however disadvantageously
placed, should with ease do both. (Hitchcock. J
In the ensuing winter Henry the 8th with the
Coronation was revived at a great expense — the con-
sequence of which was that Rainsford Street was
almost forsaken — but as poverty is the mother of in-
vention, all the wit of that company went to work,
and at last produced a Mock Coronation at a small
expense-^it was introduced in the Beggar's Bush,
and represented 17 succeeding nights, with great ad-
vantage to themselves and loss to Aungier Street —
this however was but a temporary relief. (Chet*
wood.)
It might naturally be expected that from the un-
promising aspect of the two theatres, no one would
be hardy enough to think of a third— yet far from
being deterred by these examples, the proprietors of
the old theatre in S. A. resolved once more to try
their fortune— having strengthened themselves with
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SOI IRISH STAGE.
some few additional subscribers, they pulled down
the old building, and May 19 173^ they laid the first
stone of a new theatre with great ceremony.
Highly alarmed at this unexpected stroke, the nia«
nagers at A. S., at the close of an unsuccessful sea-
son, engaged Delane and Gifiiard, who, after playing
some few nights, proceeded with the company to
Carlow Races, on their way to Cork. (Hitchcock.)
During their absence their antagonists got forward
with uncommon dispatch, and S. A. was opened
within less than 7 months after the foundation was
laid — so eager were they to get money that diey
began to play before the back part of the house was
tiled in, which the town knowing, they had not half
an audience the first night, but they mended in this
respect by degrees — the part of this theatre appro-
priated to the audience was more convenient than
that in Aungier Street, and contained a fifth part
more, tho' it did not appear so to the eye — on the
contrary the stage was more crampt for want of
room this theatre was opened Dec. 11th 1735,
with Love makes a Man. Carlos = Ward : Don
Lewis = Wetherhilt : Clodio = Sparks : Sancho =
Barrington: Don Duart = Cashel : Angelina = Miss
Barnes: Elvira = IVliss Boucher: Louisa = Mrs.
Ward. (Hitchcock.)
Chetwood says Wetherhilt came to Ireland in
1738, but Hitchcock is probably correct, as Wether-
hilt's name does not occur at Goodman's Fields after
*1734-17S5 Hitchcock by mistake has placed
Wetherhilt's name to Don Duart and Cashel's to
Don Lewis— see Chetwood p. 74.
Oliver Cashel was at this time a young actor —
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IRISH STAGE- 305
some years afterwards Macklin brought him from Bris-
tol, where they had both played in the summer, toD.L.
— his first part was Sir Julius Caesar* in Sir Walter
Raleigh^ when his best recommendation was his good
%are, for fear had nearly deprived him of his voice
— he afterwards proved a respectable actor, and ex*
celled so much in Capt. Macheath, as to give the
B^gar^s Opera a fresh run at C. G. when he was at
that theatre — ^he died at Norwich between I747 and
17*9 — he was taken speechless as he was acting
Frankly in the Suspicious Husband, and expired in a
few hours. ( Chetwood and Hitchcock.)
CashePs 1st app. at D. L. was on Sept. 24 1739
— he continued there two seasons, and acted Free-
man in Plain Dealer — Oliver in As you like it, &c.
Iq I74I-I742 he removed to C. G. where he acted
Horatio in Hamlet — Bertran in Spanish Fryar —
Scandal— Buckingham in Richard dd — Sempronius
— Angelo— Daran— Macheath — King in Henry 4th,
Pt. l8t, &C.
C. G. 1745.1746. Aboan— Pierre—CoL Woodvil
in Nonjuror — Bajazet — Macbeth — Sir Friendly
Moral — Frederick in Miser — Roderigo in Pilgrim —
^ng John in Papal Tyranny — Merchant of Venice
—Don Pedro in Much Ado— King of France in All's
Well — . Cjmabeline — Bastard in Lear — Cassio —
Aimwell— Banquo to Garrick's Macbeth.
1746-1747. Manly in P. H.- Smith in Rehearsal
■^Norfolk in Henry 8th.
* Not Sir Julius Cesar^ but Carew.
VOL. x: X
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306 IRISH STAGE.
- His name does not occar after this season.
Thus were there three theatres bailt in Dahlia
in the space of five years, which would have induced
a stranger to think, that its inhabitants were the
most theatrical people in the world, yet the reverse
was really the case — and the stage was rapidly de-
dining, as Dublin at that time could do no more
than support one theatre properly — the contest lay
principally between Aungier Street and Smock Alley,
for Rainsford Street was so far out of the way, diat
the company forsook it, after they had occupied it
for 3 years — a playhouse ought always to be in as
central a situation as possible, in this respect S. A.
had the advantage of its rival — A. S. still continaed
its authority of a Theatre Royal, whilst S. A. was
opened by a license from the Lord Mayor, under the
direction of Duval -— both companies continaed
through the season, without any material occurrence,
with little profit to themselves, and little pleasure to
the town.
On the opening of the winter season, both parties
continued their efforts with a variety of success —
tho' Duval seems to have been the most industriooB
and fortunate of the two.
In 1737 King Charles the 1st came out with suc-
cess at L. L F., which made it an object with both
the theatres at Dublin — the moment it was pub-
lished, copies were sent over, the play was cast, and
put into study at both houses — Duval however
brought it out first, and acted it to several crowded
audiences.
The winter campaigns now seem to furnish veiy
little worth notice — in summer the theatres were
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IRISH STAGE. 307
oocasionaOy visited by a few performers of conse-
qaence from London, who were allured by the cer-
tainty of good benefits —in June 1737 Delane, Hal-
lam, and Bridgewater performed at S« A.
Nov. SO 1737 both theatres were closed 6 weeks
by order of the Lord Lieutenant, on account of the
death of Queen Caroline — the poor performers did
not want this additional stroke of ill fortune at the
banning of a season.
In June 1739 Quin, then in the height of his re-
patation, accompanied by Giffard, played several
nights at S. A. — they drew crowded houses to their
Spanish Friar and Torrismond — Cato and Juba —
Sir John Brute and Heartfree— &c. — Quin's benefit
was £126, at that time esteemed a great sum— this
Hitchcock says was in 1739* but it is probably a mis-
take for 1738» as he adds that in June 1739 Delane
reinforced with Milward, revisited Dublin and played
a few nights at S. A*, where they appeared in
Othello and lago — Tamerlane and Bajazet — Brutus
and Cassias — Orestes and Pyrrhus— Young Bevil
and Sealand.
Woodward performed for the 1st time in Ireland
July 10th 1739 at S. A.— he acted Sir Novelty
Fashion, with Harlequin in the Faroe, by the name
of Mr. Lun Jun.
Miss Woffington had by this time attracted public
notice as an actress — she had for some years quitted
Madame Violante's booth, and been engaged at
Aon. St., where she danced between the acts — on
Feb. 12 1736-7 she acted Ophelia, which was her
Ist app. in a speaking character — she now began to
wveil those beauties and display those graces and
X 2
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308 IRISH STAGE.
accomplishments, which, for so many years, after-
wards charmed mankind — her ease and simplicity
in Polly Peachum, with her natural manner of sing-
ing the songs, pleased much — ^her girls were esteemed
excellent, and in the Virgin Unmasked she brought
bouses — but she never appeared to more advantage,
than when she assumed the other sex — one of the
first occasions on which she did this, was for her own
benefit in the Farce of the Female Officer, after
having acted Phillis in Conscious Lovers.
The dreadfully severe winter in 1739-40 for a
long time put a stop to all public diversions— the
poverty and distress of the lower classes of the
people can scarcely be described — the theatre felt this
calamity in its full force, and for near 3 months was
entirely closed.
In the following April, just aft;er the opening, Miss
Woffington, by the desire of several persons of qua-
lity, appeared for the 1st time in Sir Hariy Wildair,
and charmed the town to an uncommon degree— io
consequence of which she was engaged by Rich at
C. G. the ensuing winter — see C. G. Nov. 6 17*0.
Dublin Journal June 28 1740—" Next Monday,
" the SOth instant, will be acted at the theatre in
« S. A. Othello, for the benefit of Delane, being the
" last time but one, of his performing this season.''
In Nov. 1740 S. A. opened with the Funeral, in
which Mrs. Furnival acted Lady Brampton.
(Hitchcock. )
A Gentleman of rank, who had seen Mrs. Far-
nival act several capital parts at York, prevailed on
the manager of D. L. to engage her— by Chetwood's
recommendation she made her 1st app. in the Scorn*
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IRISH STAGE. 309
ful Lady— this seems to have been on March 17 1737
—she acted Lady Townly for the benefit of herself
and Macklin Chetwood is very incorrect— he
saysi that no person had acted the Scornful Lady
since Mrs. Oldfield's death— Mrs. Heron had played
the part twice at least — he adds that Mrs. Furnival
could not obtain a single part in Tragedy — which
is a still greater mistake.
In 1737-1738 she acted Portia in Cato— Clarissa
in Confederacy — Attendant in Agamemnon — Mil-
lamant for the bt. of herself and Woodward— Mrs.
SoUen.
In 1738-1739 she acted Dachess of Suflfolk— Hy-
polita — Mrs. Clerimont— Goneril — Lady Fidget*
She seems to have left D. L. before Oct 1739> as
Mrs. Pritchard at that time acted Lady Fidget —
and Mrs. Butler, Clailssa in Dec— it was perhaps
in Nov. 1739 that she came out in Ireland.
Mrs. Furnival did not meet with so much success
&8 Chetwood expected, but still she gave promise
of being a good actress— the parts at D. L. were
so taken up, that she had not a fair opportunity of
trying her talents, it was therefore by the advice
of the same Gentleman that she went to Dublin,
where she became so conspicuous that her loss was
much felt when she returned to England— Chet*
wood speaks highly of her Alicia— Lady Macbeth
-^Hermione (D. M.) and Zara (M. B.)
Hitchcock says he has been informed by the
^t judges, that she was possessed of as great
abilities as almost any actress that ever appeared,
bat that she unfortunately did not cultivate them
to the best advantage.
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310 IRISH STAGE.
About this time Mrs. Bullock's dangfatOT had a
benefit at S. A. Feb. 10~Love for Love— Miss
Frae to be acted by Mrs. Bullock's daughter-4fae
other parts to the best advantage— she was after-
wards Mrs. Dyer — ^her mother was the widow of
Christopher Bullock, and died in Ireland 1789 or
1740.
In Feb. I74I Gustavus Yasa was gotten up with
much care and attention at Aun. St. and performed
several nights with great success — as Ireland is not
subject to the caprice of a Licenser, this play kept
possession of the stage for several years.
S. A. June 4th I741. Squire of Alsatia. Sur
William Belfond= Morgan : Belfond Sen = EIring*
ton : Sir Edward Belfond = Fhillips : Truman =
Este: Cheatly=: Beamsley: Capt. Hackum = L
Sparks: Lolpoop = G. Morgan: Attorney = Hus-
band : — the part of the Squire to be performed by
Wetherhilt: Isabella = Mrs. Barry: Teresia=Mrs.
Morgan: Lucia = Mrs. Carmichael: Mrs. Terma-
gant = Mrs. Wetherhilt: — with Flora's Opera.
Hob=C» Morgan : — Boxes 5s. 5d. — Lattices 4s. 4d.
— FitSs. Sd— GaUery 2s. 2d. (Hitchcock.)
This bill is incorrect as it omits the part of Buth,
—-and wrong, as Belfond Sen. is the Squire, not
Belfond Jun. — as here represented.
Este died Jan. 1742-3— he took some pains in
getting the better of his constitution, and succeeded
at a time when he might have made some figure
on tiie stage — he was the original Orasmin in
Zara.
Beamsly (who when a child seems to have played
Lockit under Madame Yiolante) had a good voice,
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IRIftH STAGE. 311
and was always very perfect — ^he was decent in many
parts and seldom offended.
Isaac Sparks was in person of a superioar heightt
and had a natural vein of humonr which gave
satis&ction in Sir Sampson Legend, and many other
characters of that cast. {Chetwood.)
Charles Morgan came to Ireland in I7S7 with his
parents, who were both actors, and had brought him
up to the stage «— he made a great progress in low
Comedy, and gave great hopes of perfection — but he
took too much liberty with his constitution, and died
in his 28th year, in May 1745 — Chetwood adds that
Morgan^s last app. on the stage was in the preceding
Nov., when he acted Beau Oincher on the night that
Sheridan played Sir Harry Wildair for the 1st time
~ Chetwood has certainly mistaken the time when
Sheridan acted Sir Harry Wildair — in 1744 he was
in England — he might act the part in 1743, but it
seems more probable, that it was in Nov. 1745, and
that Morgan did not die till I746 — ^this supposition
exactly corresponds with what. Mrs. Bellamy says
of Moi^n and Mrs. Furnival.
Wetherhilt's father and mother were both on the
stage— the former seems to have been quite an infe-
rior actor, his name however stands to Caliban at
D. L. June 7 17SI — - the latter played several
parts— Bobeit Wetherhilt first distinguished himself
by being the original Squire Richard— in 1730-1731
"-and 1731-1732 he played small parts at D. L., and
was the original Blunt in George Barnwell— in 17dS
he acted Francis in Henry 4th at D. L on Oct 17
*** and made his first app. at Goodman's Fields on
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312 IRISH STAGE.
Nov. 13 in Sir Joseph Wittol — he continaed at that
theatre till the close of the season in 1734-1735 — he
had acted Lord Foppington (C. H.) — ^Jadc Stocks —
Marplot — Roderigo — Sir Novelty Fashion — Os-
rick, &c.
He was a good actor in Comedy, and sopported
his parents for several years out of his salary — his
company was so desirable, that he made many trials
of skill with his constitution — he died June 12 17^
in his d5th year.
M^ile Chetwood was Prompter at D. L. he re-
ceived a letter from Wetherhilt the father, to excuse
his not returning at the opening of the season, as his
son was at the point of death — the day this letter
was written, the son in all appearance expired — he
was stripped, and washed, and laid stretched on a
mat, with a basin of salt placed on his stomach,
which it seems was then customary — the parents re*
moved to another house — and the windows in the
chamber were all set open —about 8 at night, a per-
son was sent with a light to watch the corpse — when
she opened the door, the first object she perceived
was poor Bob sitting up with his teeth chattering in
his head (as well they might) with cold— the woman
in her fright dropped the candle, and screamed out
'< the Devil, the Devil" I — this alarmed another
woman below, who ran up stairs to see what was the
matter — in the mean time. Bob with much ado
had made a shift to get from the bed, and taking up
the candle, which lay upon the floor unextinguished,
was creeping to the door (in puris ruOuralibus) to
call for assistance — which the two women perceiving
with joint voices repeated << A Ghost, A Ghost, the
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IRISH 8TA«S« SIS
'' Devil, the Devir !— this brought up the master of
the house — he and poor Bob soon came to a right
understanding — the latter was put into a warm bed
—and in 10 days told Chetwood in London the whole
story of his death. (^Chetwood.)
Amidst the general decline of the stage, the mana^
g^^ at A. S. made an extraordinary exertion, and
commenced the latter season with a brilliancy never
before known in Dublin — they engaged Quin, Mrs.
Clive, Ryan and Mademoiselle Chateauneuf— the last
was an excellent dancer, and afterwards a singer
and actress — Chetwood says he instructed her in
Polly Peachuro, and that when she returned to
France, she used to entertain the audience by sing-
ing English Songs, particularly <* Rosy Wine*' from
Comus.
Quin opened in his favourite part of Cato to as
crowded an audience as the theatre could contain —
next came Mrs. Clive in Lappet, and then Ryan in
lago to Quin's Othello — Mrs. Clive so far mistook
her abilities as to play Lady Townly to Quin's Lord
Townly and Ryan's Manly— and Cordelia to Quin's
King Lear and Ryan's Edgar — however she made
ample amends by her performance of Nell, the Virgin
Unmasked, the Country Wife and Euphrosyne in
Comus — which was acted at Dublin for the first
time, and had been brought on the stage at D. L. in
17S8 — Quin of course retained his original part of
Comus — and Ryan was the Elder Brother.
As soon as Aungier Street closed, Ryan and Mrs.
Clive returned to London — but Quin seems to have
attended the company to Cork and Limerick, as he
was the next season at A. S.
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314 IRI8H STAGE.
Duval as usual went to Bel&st and Newry.
Both theatres opened in Oct. ly^l* when Qain's
1st app. was in Justice Balance (R. O.) — this Hitdi-
cock thinks strange, as it was a government night —
but the Dramatic Censor expressly says, that it was
a part in which Quin was extremely respectable— he
afterwards played— Jaques — Apemantus — Richard
— Cato — Sir John Brute— and Falstaff— unsupported
— but he afterwards received a very powerful rein-
forcement— and on Dec. 21st Mrs. Gibber made her
Ist app. in Ireland in Indiana to Qoin's Young Bevil
— »her agreement with the proprietors was for £300,
which they were well enabled to pay from the money
she drew, though to her first night there were not
£10.
This extraordinary acquisition could not fail to
turn the scale in &vour of the theatre, which pos-
sessed such capital performers — Quin's Chamont
and Mrs. Gibber's Monimia were repeated several
times --they played together Gomus and the Lady —
the Duke and Isabella in Measure for Measure —
Spanish Friar and Queen— -Horatio and Galista» &c
with uncommon applause, and generally to mtiwded
houses.
After Quin's departure for London, which was
in February 1741-2, the Bexar's Opera was often
repeated, as Mrs. Gibber was very attractive in
Polly.
Duval on his part had not been idle — he engaged
Wright, who made his 1st app. in Lear. {Hitchcock.)
Thomas Wright was in Gifiard's company at G. F.
and L. 1. F. in 1785.1736— and in 1786-1737 ~ he
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IRISH STAGS. 315
acted Don Carlos in Alzira, and Oliver Cromwdl in
King Charles the 1st, originally.
On the passing of the Licensing Act, he went to
D.L.
In 1737-I7S8, he acted Fortius — Don Duart ~
Cassio — King in Henry 4th — Antony in Jolins
Cewar — Laertes — Escalas — Eumenes in Siege of
Damascus — Lenox — Acasto — Corvino in Volpone —
Young Fashion — Sciolto — Lord Morelove — Gran-
mer-— Sharper in Old Batchelor — Richmond, &c.
1788-1739. Archbishop of York in Henry 4th —
Moneses— Don Fhilip in She wou'd and She wou'd
not — Gloster in King Lear — Belmour in J. S. —
Harcourt in C. W.— &c-
1739-1740. Don Frederick in Chances.
1740.1741. Wolfort in Royal Merchant — Phor-
b&8 in CEdipus — Duke Frederidc in As you like it.
On receiving some ill usage from Fleetwood, he
went to Ireland in 1741 — where he appeared to ad-
^^antage in several capital characters — ^he had a good
person, a pleasing voice, and understanding to feel
what he spoke — besides he was always perfect — he
afterwards went with a country company to several
parts of Ireland and England — but he had merit
Bofficient to make him desirable in any regular the-
atre ^ (^Chetteood.)—he was alive in 1749— Sheriffe,
who was at one time in the Bath company, left he-
bind him some playbills, from which it appears that
bright acted Macbeth and Falstaff at Carlow —
seemingly in 176O.
Wright with Mrs. Fomival — ^Wetherhiit — Morgan
"--Ehington and Isaac Sparks -^composed the prin-
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316 IRISH STAGE.
cipal part of Smock Alley company — names too fee-
ble to oppose to those of Qain and Mrs. Gibber.
Daval had also invited over Chetwood, who had
been Prompter upwards of SO years at D. L., and
who is said to have ezecated that laborioas and use-
ful office with great credit — to his advice and expe-
rience the Dublin stage owed many improvements —
by his direction a machinist from London was en-
gaged, who first worked the wings by means of a
barrel underneath, which moved them tc^ether at the
same time with the scenes — this was publickly boast-
ed of as a master piece of mechanism, which was
afterwards well understood and constantly practised
— (H,) — Chetwood himself says that this machinist
altered and improved the stage at S. A.— Chetwood
came to Dublin in 1741-1743, tho' no actor himself,
yet from being so conversant with the stage, and
with the various manners of dilSerent eminent per-
formers, he became no bad theatrical instructor—
and it was said that Barry and Mrs. Gr^ory both
received the first rudiments of acting from him<— he
was Prompter to Sheridan, when he became mana-
ger — in 1760 he had a benefit — he was then a pri-
soner for debt, and in a note to the Prolc^ue spoken
on this occasion, it was asserted, that his old pupil
Barry had, in his greatest distress,^refused him any
assistance, (i?. 2>.) — Fielding begins his Eurydice
with *' Hold, hold Mn Chetwood don't ring for the
" overture yet, the Devil is not dressed'' — Mrs.
Chetwood was an agreeable actress when the part
suited her voice, a tolerable Dancer, and a pleasing
Columbine. {Chetwod.)
The extraordinary attraction of Quin and Mrs.
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IRISH STAGE. 317
Gibber, at Aan. St., obliged Daval to exert every
effort to stem the torrent— his endeavours sacceeded
eqaal to his most sanguine expectations, and S. A.
in tarn reigned triumphant — for his latter season he
engaged Giffiurd, Mrs. Woffington and Garriok —
either of the latter names would have commanded
the attention of the town without any other aid, but
sach combined powers had never heretofore appeared
on the Irish stage.
June 15 1742 — Mrs. Woffington opened in Sir
Harry Wildair, and charmed her beholders beyond
expression — on the following Friday, Grarrick made
his appearance in Richard the Sd«, his name drew
erowds, and more were obliged to return than could
gain admittance — those who were fortunate enough
to succeed, were in raptures at his performance —
great as their expectations were, his execution ex-
ceeded them— his second part was Chamont, which
he repeated — Monimia by Mrs. Furnival — his Sd
Lear— Cordelia = Mrs. Woffington, and Edgar =
Gifiard — on the same evening Garrick acted the
Lying Valet — after some few unsuccessful attempts,
Ann St closed with Mrs. Gibber in Andromache,
her last time of acting in Ireland.
Garrick, Giffard and Mrs. Woffington continued
playing till August 19— during which time they acted
Richard the 3d, Henry 6th, and Lady Anne — Clo-
£o, Carlos and Angelina — Pien*e and Jaffier, Bel-
videra=:Mrs. Fumival — with Schoolboy by Grarrick
^then Hamlet = Garrick— Ophelia = Mrs. Woffing-
ton—-the last time was— -Capt. Plume = Garrick:
Sylvian Mrs. Woffington, and Kite by Walker, the
original Macheath, who was just gone over.
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318 IRISH STAGE.
Tho' Garrick's name was great and much expect-
ed from him, yet his success exceeded all imagination
— he was caressed by all ranks of people — at the
same time it most be acknowledged that Mrs. Wof-
iington was nearly as great a favourite— no wonder
then that during the hottest months of the year, the
theatre was each night crowded with persons of the
first consequence — however the excessive heats
provedfatal to many^and an epidemic distemper which
prevailed was called the Garrick fever — Garrick and
Mrs. Wofiington returned to London highly satisfied
with the profit and reputation arising from this ex-
cursion — and delighted with the civilities they had
received fi*om the nobility and gentry — which they
always acknowledged in the warmest terms.
There is a point which human perfection can at-
tain, and beyond which it is impossible to go — the
managers of both theatres seemed to have reached
this ultimatum — they had now feasted the public
with the performance of the best actors, Quin and
Mrs. Cibbeiw-Garrick and Mrs. Woffington— their
resources being thus exhausted, necessity obliged
them eagerly to seize on the first novelty which pre-
sented itself— Swan, acting manager, and occasional
actor, in Ann. St., at the beginning of the season 174S-
1743, opened a subscription for 8 of Shakspeare's
plays, which however did very little — Duval unmind-
ful of the reputation he had lately acquired, by a sin-
gle stroke debased the Irish stage to a d^ree never
known before — this was by engaging a company of
tumblers and rope-dancers, who, though the first in
Europe, should not have been su£fered to disgrace
the walls of the lowest stage in it — such diversions
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IRISH STAGS. 319
are very well in their proper place, bat should not be
permitted to contaminate the inside of a theati*e —
however they drew the admiring multitude, and so
&r answered the end of the manager — but to the
credit of public taste, none but the very lowest of
the people went to see them, the galleries were
crowded, but it was considered as a disgrace to be seen
in the boxes— Swan spoke a sensible Prologue on the
occasion, which was loudly applauded— previously to
this he had engi^ed several eminent musical perform-
ers—and Comus, with new scenery dresses and deco-
rations, came out Jan. 10th 1742«S. Comus = Swan :
Ist Spirit = Sparks : Elder Brother = Bardin : Lady
=:Mrs. Elmy : Pastoral Nymph and Sabrina=Mrs.
Ame: Euphrosyne^Mrs. Bailden: 1st Bacchant
= Madame Sybille, both pupils of Mr. Ame, who
was then in Dublin and conducted the musical de-
partment— Swan spoke the Prologue, and Mrs. Fur-
nival the Epilogue — the success which attended Co-
mas amply repaid the manager, and induced him to
get up several other musical pieces.
Jan. 29 — the part of Richard the 3d was attempted
by a young Gentleman at S. A. — he succeeded be-
yond the most sanguine expectations of himself and
his friends — ^this encouraged him a few days after to
undertake the character of Mithridates, in which he
80 amply confirmed the public opinion, that he threw
off the disguise and was announced to the town for
a Becond performance of Richard by the name of
Mr. Sheridan.
This gentleman was the son of Dr. Sheridan so
well known as the friend of Swift — he had been edu-
cated at Westminster, and Dublin, and his friends
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320 IRISH STAGE.
wished him to have pnrsaed another coarse of life —
and perhaps it would have been better for himself if
he had taken their advice— as the profession he em-
braced, involved the greatest part of his life in a per*
petaal round of anxious toil and unceasing fatigue,
wherein he experienced every species of ingratitude
and ill usage — fortunately however for the Drama,
nothing could dissuade him from the stage, and tiie
extraordinary success he met with, amply justified
his determination— he was at this time about 23 — he
repeated Richard for his benefit Feb. 19th to a nu-
merous audience, and shortly after in Hamlet gave
fresh proofs of his uncommon talents — the remainder
of the season he acted— Brutus* — Carlos in Love
makes a Man — Othello — Lord Townly and Cato—
the performance of the last character added much to
his reputation.
The Summer birds of passage this year were
Theophilus Gibber — Mr. and Mrs. Giffiurd at S. A*
— and Havard at A. S. — the former brought money,
but the latter was of no particular service.
S. A. Careless Husband. Lord Foppington=:T.
Gibber: Sir Charles Easy = Giffard: Lady Betty
Modish = Mrs. Giffard.
Relapse. Lord Foppington = T. Gibber : Love*
less and Berinthia = Mr. and Mrs. Giflhrd :-~after
which, T. Gibber acted the Mock Doctor.
Old Batchelor. Fondlewife=:T. Gibber : Behnour
and Lfletitia=Mr. and Mrs. Giffard :— with School-
boy by T. Gibber.
• Daily Post March 24 1742-3— On Thnnday March 17th
Sheridan acted Brutus at 8. A. and met with the greateirt apphune
from a numerous and polite audience. (B. M.)
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IRISH 8TAGE. 321
CoDBcioas Lovere. Tom = T. Gibber : Bevil and
Indiana = Mr. and Mrs. Giffard.
Rehearsal. Bayes^T. Gibber.
Not satisfied with the reputation justly acquired in
Comedy, he exhibited his beautiful person, and at-
tempted to charm with his harmonious tones in Tra-
gedy..^ccording]y he played Polydore and Lothario
much to his own satisfaction— his vanity tempted him
even to act Othello, when Wright was lago, and the
Gifiards Gassio and Desdemona.
Fair Penitent was thus acted — Horatio = Sheri-
dan : Altamont and Galista= Mr. and Mrs. Giffard.
Envy is the sure attendant on merit— Sheridan's
high reputation thus early procured him many ene-
mies—parties were formed against him — ^but this only
served to make him more popular. (Hitchcock.')
On July 14 17^> Cato was in the playbill— when
Sheridan was nearly dressed^ he found that the robe
in which he had been used to act was not forth-
coming— Sheridan would not play — Theo. Gibber
offered to read the part of Cato, and to act Syphax
-^this proposal was accepted — Sheridan published
an address to the town — Theo. Gibber published an
answer— Sheridan wrote a second address — ^to which
Theo. Gibber made a reply— these addresses and
answers were re-printed in a pamphlet, under the title
of « Buskin and Sock."
Hitchcock has inserted in his work two letters in
favour of Sheridan, and dated July 17th— he adds—
*' What gave rise to the above I cannot justly say,
** bat the consequence was, that Sheridan, by parti-
" cular desire, played Cato at A. S., and received
VOL. X. Y
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392 IRISH STAGE.
<< great applause from a Bplendid audience — tlie night
<< following the theatre closed.'*
The stage had long been in a declining condition
—Dublin was not populous enough to support two
theatres— if one had a tolerable run of success, ruin
was the consequence to the other — salaries were
badly paid, business was totally neglected, whilst ir-
regularity and indecorum pervaded the whole — ^the
Public b^an to be heartily tired of listening to dis-
putes between managers and performers, and con-
stantly witnessing scenes of disorder and irregularity
Qt both theatres — at last what every disinterested
lover of the Drama had long wished, took place—
the proprietors of both theatres, convinced by sad
experience that they had been playing a losing game,
and wearied out with unprofitable disputes, concluded
it would be for their mutual advantage to unite inte-
rests and perform in Ann. St. only — this salutary
expedient however did not answer the end proposed
— in forming a new company out of the two old
ones, it became necessary to reject many — these
thinking themselves aggrieved* had the address to
obtain the Ottd lease of S. A., and took possession of
it, determined, desperate as their situation was, to
form an opposition — as their numbers were too few
to play any piece, they proposed to a little company
acting in the North to join them, who, elated with
the hopes of reaping fame and profit in the metro-
polis, hastily repaired bag and baggage to Dublin—
from such a reinforcement little could be expected-^
luckily however for them Sheridan had not acceded
to the terms offered to him at A. S. which were £100
for playing till the benefits commenced, and the same
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IRISH STAGE. 323
sam eosored to him for his own benefit — ^these he
rejected^ and mth some degree of reason, as they were
£50 less than Mrs. Farnival's salary, and also less
than Madame ChateauneuPs.
Sheridan saw with concern the Mien sitaation of
the stage, and thus early fbrmed a design of removing
its disorders and reforming its abuses— to accomplish
tins romantic project, his ambition led him to aspire
to the government of the whole— he insisted on the
sole management of the theatre, and in return he
offered to secure the proprietors £500 a year — ^this
they rejected with disdain, and he immediately went
over to the other party at S. A., who opened a few
days after with Richard the 3d thus advertised —
** King Rtcbard = Sheridan : King Henry =:£lring-
'^ ton : and idl the rest of the parts by persons who
** never appeared on this sti^e" — among these new
performers were Mrs. Storer, who played Lady Anne,
and Mrs. Mynitt, who was the Queen— much cannot
be said m fiivour of the remainder — Mrs. Storer had
an agreeable person, and was afterwards at C. 6. —
ber forte was singing— Mrs. Mynitt had a good per-
son and an excellent voice, f Hitchcock and Chet-^
wod.)
Hitchcock says — <^ a paper war soon ensued be-
** tween the rival theatres, in which each party as
** usual laid the blame on the other — a short time
"however determined the dispute— the party She-
"ridan had espoused were so destitute of merit,
" that bis utmost exertions were insufficient to sup-
'* pert them --so after a struggle of a few weeks, he
*^ accepted of a capital engagement at D. L., and left
Digitized by VjOOQ IC
324 IRISH STAGE.
*« Dublin in 1743 4*'— Hitchcock is inoorroct— She-
ridan made his first app. on the English Stage at
C. 6. March 31 1744 — ^he was not engaged at D. L.
tiU the next season.
On his withdrawing of himself opposition ceased —
a few of the principal actors of S. A. were taken
into favour, and the united companies played occa-
sionally at each theatre — every thing went on in the
usual train— bad management with the constant at-
tendants, irr^ularity and poverty, still prevailed.
At thb unfortunate juncture did Barry make his
1st app. on the stage — S. A. Feb. 15 1743-4.
Othello. Othello = Barry, his 1st app.: lago =
Wright : Duke=: Vanderbank : Brabantio=BeamsIy:
Roderigo = Morgan : Cassio=:J. Elrington: Desde-
mona=:Mrs. Baily: ^milia=Mrs. Fumival — N.B. by
order of the proprietors tickets given out for thb play
at Aun. St. will be taken at S. A. — the character of
Othello was judiciously chosen — ^Barr/s person was
happily adapted to represent the noble Moor ; and his
powers to delineate the various transitions of love,
jealousy, rage, and tenderness, which peculiarly mark
the part — it is impossible to conceive a more perfect
figure than he at this time possessed — to which was
added a voice the most harmonious — his carriage
and action, tho' far from finished, were by no means
ungraceful, and in both of these time made a won-
dexful improvement — his next character was Rerre.
Aungier Street Feb. 6 1743-4. Mrs. Fumival's
bt. — Merchant of Venice revived, as written by
Shakspeare— the part of Portia to be performed by
Mrs. Fumival : Bassanio = Ralph Elrington : An-
tonio = J. Elrington : Tubal = L Sparks : Launcelot
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IRISH STAGE. 325
rrBarringtOQ : Gobbo = Morgan : Nerissa =: Miss
Ballock : Jessicas Miss Doaglas : the part of 6ra-
tiano to be performed by Sparks : the part of Lo-
reDzo, with songs proper to the character^ by Lowe :
and the part of Shylock the Jew to be performed by
Wright — with Virgin Unmasked —the part of the
Viigin to be performed by Mademoiselle Chateau-
neof, her Ist app. in that character — Quaver
to be performed by Ijowe.—(^Hitchcock.) — ^this bill
is a good specimen of the different modes in which
the saperiour and inferiour performers were adver-
tised— except that Hitchcock prints all in the same
sized type — whereas the size of the letters in the
bills was (as Chetwood tells us) the distingaishing
characteristic of merit.
There can be no doubt, but that the death blow
which Macklin had lately given to the Jew of Venice
in England, was the cause of the revival of Shaks*
peare's play in Ireland, where in all probability it
had not been acted before, since the Restoration.
May 23 1744 for the benefit of Mr. P. Morris,
at S, A. Woman's a Riddle. Sir Amorous Vain wit
= Sparks: Vulture = Morris: Courtwell = Il. £1-
rington : Col. Manly = J. Elrington : Aspin = Bar-
rington : Miranda = Mrs. Pasqualino : Lady Out*
side is omitted — with Devil to Pay. (^Hitchcock.)
Mrs. Pasqualino was first married to Ravenscroft,
and then to an Italian — in some verses written on
her leaving of the Stage she is complimented on her
performance of Desdemona — Belvidera — ^Monimia
— Millamant and Lady Betty Modish — she is said
to be
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326 IRISH STAGB«
** Mature in jadgment, &r above her age
<* And what'8 more wond'roas, virtuous on the
« stage." {ChOwood.)
The managers began the winter season in high
spirits having such a powerful addition to their
company as Barry, and being reinforced wiUi Foote,
who made his first visit to Ireland at this time — be
brought a few crowded audiences, and was well
received.
Cooke in his Life of Foote does not mention his
being in Ireland at this time — ^but Hitchcock is pro*
bably correct — Cooke is certainly wrong in saying
that Foote was engaged at D. L. the next winter
after his first appearance — that is in 1744-1745.
Barry performed but seldom — when he did, it was
generally to good houses — his new characters were
Lear — Young Bevil — Henry 5th — Orestes and
Hotspur.
Gustavus Vasa was acted several nighta with
tolerable success. (Hitchcock.)
On Dec. 19 1744 Dyer^of S. A. was married to
Miss Harriet Bullock— on Dec. 24 Bardin was stop-
ped by four persons —he took two, and two ran away
on his presenting a pistol— (jBrt^A MuseumJ--
when Victor (probably in 1753) was desired to hear
Mrs. Gregory rehearse Alicia previously to her
going pii the stfkge, Bardin, who had lately retired«
was provided to go through the scenes with h^r as
Hastings. ( Victor. ) •
Notwithstanding the pains taken to avoid an <^»po-
sition, the performers, who were before mentioned
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JR18H STAGE. 327
asbeiog exduded on formiiig the new oompany,
being driyen from S. A. grew desperate, and as their
last resource hastily erected a little theatre in Capel
Street — having obtained permission oi the Lord
Mayor, they styled themselves the City Company of
Comedians, and being joined by a few discontented
actors they opened Jan. 17 1744-5 with the Mer*
chant of Venice. Shylock = Wright : Antonio =r
Townsend : Bassanio=: Marshall : Gratiano = Hall :
Lorenzo = Corry: Launcelot = Morgan: Tubal =
Bourne: Portia = Mrs. Bronden : Nerissa = Mrs.
Phillips : Jessicas Miss Lewis : — tiio' there were a
few persons of merit in this new company, as Wright,
Bourne and Morgan, yet being destitute of ward-
robe and scenery they stood no chance against die
r^lar theatre, and after languishing a few years
sunk into obscurity. ( Chetunxxi and Hiichcoek.)
Capel Street theatre however at first got money —
it was built under the direction of an extraordinaty
flsan, who to distinguish him from a namesake was
called Harlequin Phillips— and who played the Welch
Collier in the Rem*uiting Officer and the Drunken
Colonel in the Intriguing Chambermaid with
applause.
Being arrested when he was in London, he per-
suaded the Bailiff in whose custody he was, Aat he
would send for six doeen of wine that he had, and
proposed to allow him sixpence a bottle fbr the pri-
^ege of drinking it in his own chamber — accwd-
ingly the wine was pretended to be brought the nes^
BHMmlng by a porter, who affected to come in heavily
lad^n with an empty hamper, and to go out lightly
with Phillips on his back — he was dishampered at
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328 IRISH STAGE.
an alehouse near the water side, crossed the Thames
and soon after embarked for Ireland — he was very
fond of this trick, which was contrived long before
he was taken, to be ready for such an emergency.
He afterwards showed them a Harlequin's trick
at Dublin, and made his escape with the wife he
had there (who was no bad actress) back to England
—but he did not forget to take more money than his
own along with him. ( Chetwood.)
Towards the dose of this winter, the proprietors of
A. S* and S« A. theatres finding their affairs beyond
their power to retrieve, and the stage reduced to the
lowest ebb — as their dernier resort and at the re-
quest of the public, solicited Sheridan to return and
take upon him the sole direction of the theatre, leer-
ing to invest him with unlimited authority to ad; as
he thought proper this was the only atonement
in their power for a long series . of ill conduct, and
imprudence, but this indeed compensated for all
their former errors — when both parties are willing,
preliminaries are soon adjusted — every thing being
settled to Sheridan's entire satisfaction, he came to
Dublin in May and performed a few nights in con-
junction with Barry. (Hitchcock.)
Victor says that the theatres had been for many
years under the direction of 36 nobles and gentle-
men, who called themselves proprietors — and they
had been under the management of one artful man,
who acted as their agent, and who, by his intrigues
governed all in the most base, as well as arbitrary
manner — Sheridan called a full board of the propri-
etors, and his first motion was, to displace their old
agent, agaiost whom he had prepared several articles
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IRISH STAGE. S^
of impeachment — and the whole company of actors
and others by way of evidence to support them — ^the
proprietors very soon gave up their agent ( Victof^s
4flih letter.)
Victor adds that soon after his arrival in Dublin
he was introduced to Sheridan, who by letter of
attorney gave him equal power with himself to
direct in the business of the company, and to be trea-
Barer.
This agreement however seems not to have taken
place till 1746-1747 — Victor in his 64th letter says
— .<< I set off for Ireland in the year 1745,* to settle
" my accounts with my linen manufacturers * * my
^' friend Garrick offered me a benefit play as an au-
*^ that who had wrote for that stage — and performed
^' the part of Hamlet, which the Lord Lieutenant
*^ honoured with his presence, and by which I cleared
*' above £100 — during my stay of four months — ^be-
'* sides settling my affairs of business, I employed
** my leisure hours in looking into the state of the
'* theatre, and then formed my design of making
^* Dublin my place of residence — I went back to
^* London with Garrick in May, and returned with
" my family the October following.^
* Victor means 1746-1746— of ooune he uses the Old Style.
. Digitized by VjOOQ IC
330 1745-1746.
1745-1746.
Sheridan, having thus attained his utmost wieh^
was anxioas to engage such a company as woald firom
its merit ensure success — Miss Bellamy, a young
actress then rising rapidly into fame, was applied to,
and such advantageous terms offered her, as she
readily emhraced — tho' all the incidents related by
this extraordinary Lady in her Memoirs are not
strictly true, yet it is certain that she was then oon •
sidered as a very valuable acquisition to the Irish
stage but Sheridan's grand object was, if poesi-
ble, to engage Garrick — tho' he was now sole mana-
ger of the Irish stage, and was seconded by sucih an
actor as Barry, whose line of acting did not int^ftre
in the least with his own, yet with a disinterested-
ness and public spirit seldom shown, he used eveiy
effort to engage the only man of ifrfiose] unoommon
talents he had reason to be jealous. (Hiichodck^^
But this was a delicate point to compass, as there
had been a sort of rivalship and coolness between
them before Sheridan left London — however he
wrote to Garrick and offered to divide the profits of
the theatre with him, after deducting the necessary
expenses, frankly adding at the same time, that he
must expect nothing from his friendship, but all that
the best actor had a right to command he might be
certain should be granted.
Digitized by VjOOQ IC
1T45-1746, 331
Garrick was at Col. Wyndhun's when he received
this letter— after looking it over, he pot it into the
ColonePs hand, saying ** this is the oddest epislile i
^' ever saw in my life" — ** It may be an odd one''
(the Colonel replied, after he had read it) ^< but it is
'^ sorely an honest one — I should certainly d^end
«< upon a man who treated me with such openness
" and simplicity of heart"
When Garrick arrived at Dublin, he soon had a
meeting whh Sheridan, who offered to fulfil his pro-
mise of sharing profit and lose — but Garrick insisted
OQ a stipulated sum for playing during the winter--*
to this Sheridan objected, and said his proposal was
the most reasonable, as Garrick would then receive
as much money as he earned, and others would not
be losers — whereas in the other case, he might be
the only gainer — after some little dispute, which
Sheridan decided by taking out his watch and in-^
sisting upon an answer in a few minutes, Garrick
submitted. (Davies.)
This important business being thus setded, the
manager entered into the arduous and then esteemed
chimerical plan of reforming the stage — happily
native had endowed him with the most essential re-
quisites for this difficult undertaking — his temper
was remarkably mild and gentle — ^tho' he always en-
deavoured to demonstrate the propriety of his regu-
lations rather than to command, yet he was resolute
in enforcing eompliance to whatever he was assured
was right— his underatanding was dear, and his edu-
cation enabled him to see things in their proper
light.
It may naturally be supposed that he had at fn%
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SS9 1745-1746.
many difficultieB to encoanter — the stage had Img
been under the direction of 7 managers, whom the
town in derision called the 7 wise men — ^bad habits
confirmed hj time were hard to be eradicated — per-
formers were unused to r^ularity, and the taste of
the town wac( palled and vitiated — ^nevertheless when
the work of reformation was a little advanced, the
task grew much easier — his methods were so gentle,
and at the same time so salutary, that they carried
conviction with them — the good sense of the actors
pointed out to them the propriety of the manager's
conduct, and the necessity there was of conforming
to his directions — he constantly attended the re-
hearsals, and the most trifling incident of the nighf s
performance was not omitted at the last momingfs
practice — and tho' the strictest attention was re*
quired, yet were the rehearsals so reasonably ap-
pointed, that it was in every person's power to com-
ply—and seldom was he under the disagreeable ne-
cessity of being obliged to enforce obedience by for-
feits — a method to which he had a particular dis-
like.
At rehearsals his great judgment and knowledge
of the stage amply qualified him for an instructor—
his r^ulations were so proper and conveyed in so
pleasing a manner, that they were irresistible — his
highest ambition seemed to center, in being consider-
ed as the father of his company.
The minutiflB of the stage were diligently attended
to— his decorations were truly d^ant and his plays
were dressed with characteristic propria — indeed
he has firequendy been blamed for launchii^ into
expenses, whidi the profits of the perfinrmances were
Digitized by VjOOQ IC
1745-1746. 333
unable to repay — ^upon the whole it may with con-
fidence be asserted that daring Sheridan's manage-
ment, plays were condacted in a style eqaal in most
respects to any the British stage ever produced — how
meritorioas then was the man, who raised the Irish
stage to such an eminence I
It must not however be imagined that all this was
accomplished in a day— it was the work of years —
perfection is only to be attained by perseverance —
and it is worthy to be remarked, that his conduct in
the last day of his management was as assiduous and
laudable as in the first
Non-payment of salaries he knew was the radical
source of disorders — for who would attend rdear-
sals, or take pains in their profession, when they
were uncertain of any recompense, and perhaps had
not even the means of subsistence ? — the former po-
verty of the actors had begotten carelessness and
indifference, and in the end had driven many to dis-
graceful actions^ which nothing but necessity could
excuse.
It is scarcely credible, though strictly true, that
before Sheridan's time, Isaac Sparks had but 12s.
per week — Dyer, 8 — Elrington a guinea, and the
rest in proportion, — miserable as these pittances
were, they many weeks received not above half theiz
respective demands— perhaps the following anecdote^
though from unquestionable authority, will hardly be
believed — the acting managera as they were called,
were so reduced in their finances and exhausted in
their credit, that they were once obliged to repair to
the theatre on the evening of a play dinnerless — the
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334 1746-1746.
firrt shiUing that came itit6 the house they dispatched
for a l<4n of mutton — the second for bread — the
third for liquor, and so on till they had satisfied the
demands cf nature.
Sheridan not only raised most of the actors' pay,
but also established a fund for the regular disdiarge
ofsalaries and tradesmen's bills— this rule he never
deviated firom — and amidst all his distresses on the
wreck of his fortune in 1754, he could, with an
honest pride, publicldy boast in a pamphlet he then
published, that << Every Saturday saw the weekly
<' salary of each person discharged at the treasa-
^< rer's office, and that the bookB of that office
<< would show at the close of the account last Sa-
^^ torday, thi^ there was not a demand upon him
'* of any performer whatever, from his first under*
'^ taking the management, to that hour, left unpaid/'
Hitchcodc sajrs that Sheridan opened the theatre
eariy in Oct 1744— this is a shameful mistake, as
it is not only contrary to the real fact, but to what
he himself states elsewhere.
Hitchcock adds — << the company consisted of 6ar-
" rick — Barry — Lacy — EIrington — Mrs. Fumival
^* and Miss Bellamy— besides many others of merit
« — gnch as Walker — ^Frank EIrington — Morris —
" Bardin — Sullivan — Vanderbank-— Beamsly — Mrs.
** Walkar— Mrs. Storer— Mrs. Elmy— Miss Jones,
« &c.*'
Hitchcock has omitted the name of Morgan, be-
cause Chetwood supposes that Morgan died in
May 1745 — but Mrs. Bellamy expressly says, that
he was alive, when the ludicrous affidr between
her and Mrs. Fumival took place — that is in the
Digitized by VjOOQ IC
1746-1746 335
season 1745.1746 — the Nov. in which Moiga n
acted Clincher to Sheridan's Sir Harry Wildair,
waa probably the Nov. of 1745 — Sir Harry Wil-
dair was so totally out of Sheridan's line, that
one could hardly have supposed him to have played
the part before he was manager.
Frank Elrington died in 1746 ~ of Walker and
Mrs. Walker— Sullivan — Vanderbank — and Miss
Jones, Chetwood who published his little voL in
1749 makes no mention— ^—Morris had been brought
up by Madame Violante and had been in several
theatres in England and Ireland— he acted several
old men's parts very well — sang tolerably — ^was
esteemed a good Teague and an excellent Pierrot-
he was alao a dancer. (Chetwood.)
Vanderbank died in England -— the General Ad-
vertiser f<MrNov. 30 1750 says— '' On Friday died
<<at the World's end, Vanderbank, a celebrated
'* Comedian*' fB. ilf >— this was perhaps the place
mentioned by Congreve in Love for Love.
For Mrs. Ehny seethe end of C. G. I76I.I762.
After the theatre had been open about a month,
Sheridan brought out Miss Bellamy, Nov. 11th at
A S., in the Orphan — Castalio = Barry : Chamont
= Sheridan : Polydore = Lacy : Monimia = Miss Bel-
laa^:-«as a promising actress she jdeased much —
her second part was Desdemona to Sheridan's
OtheUo.
Garrick did not come forward till the novelty of
the other performers was in some measure abated
~ his 1st app. was at S. A. Dec. 9th in Hamlet
Queen = Mrs. Fumival : Ophelia = Mrs. Storer : —
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336 1746-1746.
his reception was such as his extraordinary merit
deserved.
Garrick and Sheridan played Richard — Hamlet,
&c.. alternately, and to give a peculiar strength,
they agreed each to play lago to Barry's Othello.
Orphan. Castalio = Barry : Chamont = Garrick :
Folydore = Sheridan : Acasto = Beamsly : Monimia
=Miss Bellamy.
The strongest play was the Fair Penitent. Lo«
thario = Garrick : Horatio = Sheridan : Sciolto =
Beamsly: Calista=Mrs. Fumival: Lavinia = Miss
Bellamy — Barry is said to have played Altamont so
finely, as to have made that character equally re-
spectable with Lothario and Horatio. (Hitchcock.)
This observation has been frequently repeated —
but surely it must be understood with some grains of
allowance — that Barry played Altamont better than
the part was ever played either before or since, it is
easy to conceive — but that he made Altamont equal
to Garrick's Lothario and Sheridan's Horatio cannot
be strictly true.
Hitchcock says — ** the characters which Garrick
*' played were in the following order — Hamlet, Ricfa-
<<ard, Bayes, Archer, Lothario, Macbeth, Lear»
** Bastard in King John, Sir John Brute, Schoolboy,
*' Chamont, Orestes, Othello, lago, Hastings^ and
" Sharp in his own Farce of the Lying Valet — the
<< two last were for his own benefit, and the last
<< time of his ever performing in this kingdom." —
Garrick arrived in Dublin Nov. 24, and played
Bayes for his bt. Dec. 20 — (British Museum) — the
bt which Hitchcock mentions must have been his 2d
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1745-1746. 337
bt — Othello certainly was the last character which
he played in Ireland— in Brooke's works we have a
Prologue to Othello, written by him, and spoken by
Garrick— it begins thus —
" My term expired with this concluding play^
" Tve cast the Buskin and the Sock away.^^
These lines make it clear that this Prologue, as it
is called, was an Epilogue— Garrick proceeds —
*' Mamma'' cries Miss, ^* who is that Little
Master ?
" Zouns" says the Captain, " what is that Othello f
" Ha, ha, ha I—
" A good joke, damme— a rare Hulking Fellow 1**
Garrick concluded with —
" May Chesterfield return to bless your sight."
The Earl of Chesterfield was Lord Lieutenant
of Ireland during the time of the Scotch rebellion —
while he continued in office, he executed the duties
of it with a vigilance, attention, and fidelity, which
gave the most perfect satisfaction to the Irish nation,
and endeared his memory to them — the violent mea-
sures which were proposed to him at the breaking
out of the rebellion, respecting the Catholics, he re-
jected with indignation— on the contrary, he treated
them with a mildness and moderation, which en-
gaged their affection and confidence — so well assured
was he of the peaceable and loyal disposition of the
nation at large, that he treated with pleasant ridicule
the information brought to him by a Gentleman high
io office, who, with marks of evident consternation,
VOL, X. z
Digitized by VjOOQ IC
338 1745-1746.
told his Excellency that the people in Connaaght
were certainly rising — the Earl, with perfect calm-
ness and composare, replied, ^' It is now nine o'clock,
** and time for them to rise — I therefore incline
" to believe your intelligence true.** — (^Bekham)—
The Scotch rebels were completely defeated at Cul-
loden on the 15th of April, and Lord Chesterfield
arrived in London on the SOth. (London Maga-
zine.)
To Sheridan's credit it should be observed, that
through the whole connexion between him and Gar-
rick, such was his strict adherence to his engage-
ments, and open unreserved behaviour, that they
parted good friends, Garrick acknowledging that he
was the man of honour and the Gentleman.
On May 3d Garrick left Ireland, and in company
with Victor returned to Liondon, highly pleased with
a trip, which surpassed his expectations, both in fame
and profit.
While he was in Dublin, he generously bore tes-
timony to Barry's growing merit, in several letters
written to his friends in London, assuring them that
he was the best lover he had ever seen.
About a fortnight after Garrick's departure, She-
ridan closed his first season, the most honourable
and brilliant that had ever marked the Irish dramatic
annals. (Davies — Victor and Hitchcock.)
Mrs. Bellamy's Apology for her Life, as has been
before observed, is full of mistakes — one instance of
which is, that she speaks of acting with Barry at
Dublin the following season as well as the last, tho'
it is certain that Barry was then at D. L. — the aneo-
dot€S however that she relates about herself may be
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1745-1746. 339
trae, tho' she mistakes the time when they hap-
pened.
Miss Bellamy being the natural daughter of Lord
Tyrawley was much noticed at Dublin, particularly
by the Hon. Mrs. Butler— in her agi*eement with
Sheridan she had particularly stipulated that she
should play Constance— and when King John was
pat into rehearsal, Sheridan, mindful of his promise,
meant her to act the part — ^but Garrick strenuously
opposed it, as her youth and inexperience rendered
her very unfit for the character — Garrick carried his
point and Mrs. Fumival played Constance enraged
at this, Miss Bellamy flew to her patroness Mrs. But«
ler, who, notwithstanding her partiality for Garrick,
sent round to her friends to request they would not
go to the play the evening King John was performed—
this lady had great influence in the fashionable world
—her house was frequented by most of the nobility,
and as she frequently gave balls, the young ladies,
who were usually invited, readily complied with her
request on this occasion — and King John was acted
to a thin house to Garrick's mortification.
Not content with this, when Garrick asked Miss
Bellamy to act Jane Shore for his benefit, she abso-
lutely refused, saying that if she was too young to
act Constance, she was of course too young to act
Jane Shore— Garrick, finding his entreaties ineffeo-
tnal, prevailed on Mrs. Butler to use her influence
with Miss Bellamy — to whom also he wrote a ridi-
ctdous note — this he directed " To my soul's Idol,
*'the beautified Ophelia,'* and delivered it to his
servant with orders to carry it to Miss Bellamy--the
z 2
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340 1745-1746.
fellow, having something else to do, gave the note
to a porter, and he, not knowing where Ophelia
lived, carried it to his master, who happened to be
a news-man — and next day it appeared in the pab-
lic prints, which was a second mortification to Gar-
rick.
When he called on Mrs. Butler to take his leave,
she put into his hands a sealed packet, saying it con-
tained her sentiments — and enjoining him not to
open it, till he had passed the Hill of Howth— Gar-
rick took the packet with a significant air, concluding
that it contained not only a valuable present, bat
also such a declaration of tender sentiments, as her
virtue would not suffer her to make known to him,
while he continued in that kingdom — Garrick was so
disappointed when he opened the packet, and found
that it contained nothing, but Westley's Hymns and
Swift's discourse on the Trinity, that he threw them
both into the sea.
All for Love was revived. Antony = Barry : Ven-
tidius = Sheridan : Cleopatra = Miss Bellamy : Oc-
tavia = Mrs. Furnival : — when the manager was in
London he had purchased a superb suit of clothes
which had belonged to the Princess of Wales, and
had been only worn by her on the birth-day — this
was made into a dress for Cleopatra, and to render
it still more magnificent, Mrs. Butler's jewels were
sewed on it— Mrs. Furnival, in going to her own
dressing-room, passed Miss Bellamy's, the door of
which stood open — seeing this rich dress lie thus ex-
posed and no one near it, she carried it off with a
determination to appear in it herself— Miss Bel-
Digitized by VjOOQ IC
1745-1746. 341
lamy's maid, on finding the dress gone, ran about
the theatre like a mad woman, enquiring of every
body, whether they had seen any thing of it— at
length she was informed that Mrs. Fumival had
gotten possession of it — she at first demanded the
dress with tolerable civility, but meeting with a pe-
remptory refusal, she proceeded from words to blows,
and would probably have incapacitated Mrs. Furnival
from acting that evening, if assistance had not inter-
vened— when Miss Bellamy came to the theatre, she
found her maid in the greatest distress, in which
8he was so far from participating, that she had a
Becret pleasure in the expectation of what the re-
sult would be — however she sent for the jewels —
Mrs* Furnival, rendered courageous by Nantz, and
the presence of her paramour Morgan, who was not
ffien dead, sent her word she should have them after
the play was over — Miss Bellamy had no resource
but to appear in a plain dress — every transaction that
takes place in the theatre^ and every circumstance
relative to it, is publickly known in Dublin— the re*
port of the richness and elegance of Miss Bellamy's
dress had been universally the subject of conversa-
tion for some time before the night of her perform-
ance— when, to the surprise of the audience, she
appeared in white sattin — Mrs. Butler was in the
stage box, and seemed not able to account for such
an unexpected circumstance, and not seeing Miss
Bellamy adorned with the jewels she had lent her,
she naturally concluded she had reserved her finery
for some future scene — when Miss Bellamy entered
the green-room, the manager, who expected to see her
splendidly dressed, expressed with some warmth his
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342 1745-1746.
surprise at a disappointment which he could only im-
pute to caprice — Miss Bellamy coolly told him <^ that
<< she had taken the advice Ventidius had sent by
<< Alexas, and had parted with both her jewels and
"clothes to Antony's wife'* — Sheridan could not
conceive her meaning, but as it was then too late to
make any alteration, he said no more on the subject-
he was not however long at a loss for an explanation,
for going to introduce Octavia to the Emperour, he
discovered the jay in all her borrowed plumes— an ap-
parition could not more have astonished him — he was
so confounded that it was some time before he could
go on with his part — at the same instant Mrs* Butler
exclaimed aloud " Good Heaven, the woman has
" gotten on my diamonds" — the gentlemen ia the pit
concluded, that Mrs. Butler had been robbed of them
by Mrs. Furnival — and the general consternation
occasioned by so extraordinary a scene is not to be
described — but the house observing Sheridan to smile,
they supposed there was some mystery in the affair,
which induced them to wait with patience to the con-
clusion of the act — as soon as it was finished, as if they
had been all animated by the same mind, they cried
out, " No more Furnival ! no more Furnival !"—
the fine dressed lady disappointed of the applause she
expected to receive for her dress, and hooted for the
impropriety of her conduct, very prudently called
fits to her aid, which incapacitated her fix)m appear-
ing again, and the audience had the good nature to
wait patiently till Mrs. Elmy, whom curiosity had led
to the theatre, had dressed to finish the part. (Mrs.
What Mrs. Bellamy says of Mrs. FurnivaPs driok-
Digitized by VjOOQ IC
1745-17i6 343
ing was probably not without foundation, as it per-
fectly agrees with what Hitchcock says of her.
Hermon, Prince of Choraea-^this T. was printed at
Dublin in 1746— it seems not to have been acted —
or at least not at the time of publication— it was writ-
ten by Dr. Clancy, who was blind and who had acted
Tiresios at D. L. April 2 1744 — Three years before
the play begins, Hermon had left China — his sister,
Elzora, was at that time Empress — she was afterwards
murdered by the Emperour — Hermon returns in
disguise, having been enjoined by his father to per-
form sacred rites at the tomb of Elzora — ^he strikes
the tomb, and Oria arises from it as Elzora — she
orders him to kill the Emperour— this was a contriv-
ance of the Priests — the apparition makes a strong
impression on Hermon's mind, but he does not like
to become an assassin — the throne of China is said
to be destined to him who shall wed Imma, the last
descendant of Tohu — the Emperour wishes to marry
her— she prefers Icaon, who is a pirate, and at the
head of a powerful army — she arrives in his camp,
and is married to him — Oria stabs the Emperour,
supposing him to be Xury — Imma turns out to be
in reality Aliza, and the daughter of Icaon — Cosca
was the wife of Icaon, who at that time was called
Gasper — the real Imma had been committed to her
care when a child, and she had exchanged her own
daughter for Imma — Icaon orders the supposed Im-
ma to be put to death — he is defeated and killed by
the Tartars — at the conclusion, Hermon becomes
Emperour of China, and is united to the supposed
Aliza — that is to the true Imma — this is a poor play
—the plot is complicated, and veiy improbable —
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344 1746-1747.
particularly as to the death of the supposed Imma--
the language is, in general, harsh and unnatural.
General Advertiser April 14 1746 — the new T.
called Hermon, Prince of Chorsea, or the Extrava-
gant Zealot, which was greatly applauded in Ireland,
will be republished here (London) to-morrow.
(British Museum.)
Hitchcock does not notice this play, but says that
Dr. Clanc/s other Tragedy, called Tamar Prince of
Nubia, was played, and soon after consigned to oUi-
vion — see vol. 1st page 105.
1746.1747.
Preidously to the opening of the theatre for the
winter season, Victor was become deputy-manager
and treasurer, a situation for which he was well qua-
lified.
Victor recommended the manager to revive Romeo
and Juliet, but he preferred Much ado about No-
thing, which was accordingly revived, but with little
success'— Sheridan and Miss Bellamy probably acted
Benedick and Beatrice.
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1746-1747. 345
Romeo and Juliet came next— Sheridan and Miss
Bellamy — the former had never much of the lover
in his composition and was very unfit for Romeo —
(Victor.) to make the matter still more moving, he
took the celebrated speech about Queen Mab from
Mercutio, and added it to his own part. {Dramatic
Censor.)
Tho' Sheridan was a sensible man, yet he does
not seem to have made yvca&i o-bccvtov his study— few
performers have acted parts more out of their proper
line than he did — for this the exigencies of his thea-
tre are some excuse, but hardly a sufficient one —
previously to this he had acted Sir Harry Wildair —
Benedick — Young Bevil— Chamont and Polydore —
he afterwards acted Varanes — Faulconbridge —
Young Nerval — Osmyn— Sir Charles Easy — Valen-
tine— Archer — and Ranger.
Romeo and Juliet was performed 9 nights to great
houses — as Sheridan is said to have made an altera-
tion of this play, it was no doubt done on this occa-
sion — Garrick's alteration did not appear till some
time after — nor was Theophilus Gibber's printed till
1748, but Sheridan had probably seen it at the Hay.
in 1744.
^sop was acted at S. A. Jan. 19th — iEsop = She-
ridan : Doris = Miss Bellamy — a gentleman of the
name of Kelly went into the pit enflamed with liquor
(an indecency at that time too frequent in Dublin)
Hnd climbing over the spikes he got on the stage,
and very soon made his way to the green-room,
where he addressed Mrs. Dyer, a perfectly modest
woman, in such indecent terms aloud, as made all
the actresses fly to their dressing-rooms — he followed
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3i6 1746-1747.
one of them thither, but being repulsed by the door,
he made such a noise there, as disturbed the business
of the scenes — Miss Bellamy, whom he had pursued,
was then wanted on the stage, but afraid to come out
till Sheridan went to the door with the servants of the
theatre and a guard, whom he ordered to take Kelly
away, and conduct him back from whence he came
— this was done without the least resistance on his
part — but when he arrived in the pit, he took a bas-
ket from one of the Orange women, and on Sheri-
dan's coming on the stage, he threw oranges at him
and hit him with one of them — M ra. Bellamy says
the blow was so violent as to dent the iron of the
£edse nose, which he wore, into his forehead — Sheri-
dan on this addressed the audience for protection—
some gentlemen in the pit, who were acquainted
with Kelly, silenced him with difficulty, but not till
he had called the manager scoundrel, rascal, &c.—
Sheridan with most becoming spirit and propriety
answered ** I am as good a gentleman as you are''—
after the play Kelly found his way to Sheridan's
dressing-room, and there to his face and before his
servants called him the same abusive names — this
provoked Sheridan to give him some blows, which
Kelly took very patiently — but when he went to the
club of his companions that night, he falsely said
that Sheridan's servants held him, while their master
beat him — they were so incensed that a scoundrel
placer should beat a gerUleman^ that a party was
directly formed — a powerful 6ghting party, and the
next day all persons were threatened openly in every
coffee-house, who dared to look, as if they were in-
clined to take the part of Sheridan.
Digitized by VjOOQ IC
IIM.IUI. 347
Hi8 name being in the bills some days after for the
part of Horatio, several letters, cards and messages
were sent him, warning him not to leave his house
that evening, and to take particular care to be well
guarded even there — he followed that friendly advice
— and when Dyer went on the stage to apologise for
his not performing of the part, and to acquaint the
audience with his reasons— at that instant about 50
of the party, with Kelly at their head, rose up in the
pit, and climbing over the spikes got on the stage —
they then ran directly to the green-room, from thence
to the dressing-rooms, broke those open that were
locked — ran up to the wardrobe and thrust their
swords into all the chests and presses of clothes, by
way of fedinff as they said, if Sheridan was there —
after many such acts of violence, a party went off to
bis house, but on finding he had provided for their
reception, they thought proper to retire.
The next day was spent in furious parties and
violent threatenings in all public places— two days
after, Victor published a letter in Faulkner's Jour*
nal in vindication of Sheridan, but without his
knowledge— among other things he mentioned that
Lord Chief Justice Lee had declared from the Bench
(in consequence of the riot at D. L. 1743) that it
was his opinion, that ^< a contintuil hissing was a
** fnanifest breach of the peace^ as it was the begin*
** ning of a riot J*
Previously to all this, Victor had loudly and
publicly exclaimed against the impropriety of ad-
mitting every idler, that had a laced coat, behind the
scenes — ^the young men of the University were in
the habit of crowding to every morning rehearsal.
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348 1746*1747.
and the actors were sometimes obliged to rehearee
within a circle of 40 or 50 of these young gentle-
men, whose time ought to have been otherwise em-
ployed—Victor had proposed several methods for
redressing these grievances, which were all objected
to by the manager as too dangerous to be put into
execution at Dublin — his common reply was <* Yoa
<< forget yourself, you think you are on Eu^ish
" ground."
Thus things continued till Kelly made bis attadc
on Sheridan — during the month this dispute lasted,
there were as many pamphlets published as woald
make a large 8vo. volume — the whole city, nay the
whole kingdom, were engaged in this quarrel, which
not only threatened the ruin of all those whose bread
depended on the theatres, but the lives and fortunes
of many without doors, who were rash enough to
engage in Sheridan's cause — on this occasion a
noble spirit was raised, and Sheridan was supported
by all persons of worth and honour, and by the
laws of his country.
The first play attempted to be acted was Richard
the Sd — when this Tragedy was advertised, loud
menaces were uttered against the manager, and a
general declaration that he should never be permitted
to act till he had made a proper submission — but the
lovers of liberty and a free theatre were not to be
deprived of their favourite entertainment by the ca-
pricious humour of any set of men— and as they
looked upon these menacing dictates as so many
open insults to the laws and to the public, they were
resolved to oppose the rioters to the utmost—
several citizens who were seldom seen at the theatre,
Digitized by VjOOQ IC
1746-174T. 349
were eo sensible of the advantage and importance of
a well-r^alated stage, that they declared to Sheri-
dan and his friends, that they would now more than
ever appear there, and doubted not being able to
protect the manager and the actors in general in
the discharge of their duty.
With assurances of this kind, and a consciousness
of being in the right, Sheridan consented to act
Richard — the house filled earlier than usual— there
was a considerable appearance of Ladies, Gentle*
men, and Citizens of eminence, and no small num*
berof the young men of the University— these were
dispersed through the theatre, but chiefly in the pit,
yet in such a manner, that those who best knew
faces could see no room to suspect any thing like a
concerted assembly, however they might afterwards
be found to agree in sentiments— the rioters came
to the house late, in small but well known groups^
and placed themselves chiefly in the boxes — ^the
play went on with great quietness, till the latter end
of the first act, when Richard appeared— a confused
noise was then heard from different parts, but chiefly
from the boxes, of ** a submission, a submission,
**a submission, off, off, off" — Sheridan advanced
with respectful bows to the audience, but was pre-
vented speaking by louder and more distinct sounds
of ** no submission, no submission, go on with the
•* play."
In this conjuncture, a patriotic citizen, called
Lucas, addressed the house in a very proper speech,
and concluded with desiring that those who were
for preserving the decency and freedom of the stage
would distinguish themselves by holding up their
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350 1746-1747.
hands — ^he was heard with great respect, and saluted
with shouts of applause — on the division, the num-
bers were so great against the rioters, and appeared
withal so animated for action, that the greater part
of them suddenly went off, and left the performance
of that night in quiet — the rioters were greatly in-
censed at this repulse — they resolved that the mana-
ger should not be permitted on any account to per-
form—and they assaulted Mr. Lucas one night in the
streets — he offered a reward for the conviction of
the offenders, and, tho' unused to the weai*ing of
offensive weapons, thought it prudent to go armed
with a sword and pistols.
Before the riot began, the Fair Penitent had been
appointed to be acted for the annual benefit of the
Hospital of Incurables — the governors, who were
all persons of consequence, sent Sheridan word, that
if he would perform Horatio, they would take upon
them to defend him that night, resting assured that
no set of men would oppose a Charity play — espe*
cially as all the ladies of quality were to honour it
with their presence — the bills were accordingly posted
up — the governors in their white wands went early
to the theatre — ^the boxes and pit would have been
filled with ladies, if about 30 gentlemen had not taken
early possession of the middle of S or 3 benches
near the orchestra — there were about an hundi*ed
ladies on the stage— and when the curtain drew up»
nothing could equal the brilliant appearance of the
house — at the entrance of Sheridan (who had the
honour of being ushered in by the governors) these
90 gentlemen, all armed, rose up in the pit, and
ordered him off— and they were joined by some few
Digitized by VjOOQ IC
1746-1747, 351
placed in both the galleries — Sheridan withdrew,
and then violent disputes, and something very like
challenges passed between several of the governors
and the gentlemen in the pit, as all the persons on
both sides were publickly known — among the go-
vernors was a Student of the College in his Bache-
lor's gown, who behaved with some warmth against
those that opposed the play— a gentleman in the
pit called him scoundrel, and (as he declared) said
"they were all a pack of scoundrels" — away flew the
Student to the College (the distance half a mile)
and returned in about 20 minutes, with as many
Gownsmen armed for the combat — but as the affront
was not given till the house was half empty, the
rioters had most fortunately all left the pit— ^the
Gownsmen made search after them at most of the
taverns that night — but not finding them, they re-
tnmed to the Collie, and called a council of Mrar,
which lasted till the morning — as soon as the
gates were opened, they all sallied out armed —
and dispersed in large parties to beset the different
lodgings of the rioters— these detachments struck
terror into all concerned in the opposition, and
seemed to threaten such mischief, that several shops
were kept shut in the principal streets — but the chief
aim of the Students was to secure the person who had
insulted their whole body, and as that gentleman was
just come from the country, he was not easily found
—during this single pursuit, several of the leaders of
the opposition fled with fear and trembling to the
Court of Chanceiy, where the Lord Chancellor was
sitting, and b^ged his protection against the Gown&*
men — about 11 o'Clock this principal offender was
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35-^ 1746-1747.
found and carried to the College --the greater part
then proceeded in search of another delinquent, who
was a young OflBcer and lived with his father, a gen-
tleman of large fortune— the house was defended by
a good number of servants — ^after several difficult as
well as dangerous attacks, they made a breach— en-
teredo and brought out their prisoner — they put him
into a hackney coach^ and guarded him in triumph
to the College — great care was taken by i2 or 3 of tbe
Principals (who secretly aided the enterprize) that
no extravagant punishment should be inflicted on the
prisoners— the first and greatest offender was com-
pelled to kneel down on his bare knees, in all the
courts of the College, and to repeat a form they had
prepared for him — the other was excused kneeliDgi
and only read his submission, and asked pai*don of
the College— and thus the affair ended as far as the
young men of the University were concerned, who
only interfered with regard to themselves, and not io
the manager's quarrel— and not only the whole city,
but the Provost himself approved of their conduct.
The Lords Justices now thought proper to order
the Master of the Revels to shut up the theatre by
his authority, which was accordingly done — this was
a prudent step, because the theatre was made tbe
seat of war.
And now the Lawyers took their share in tbe
quarrel — Kelly was taken up for assaulting Sheridan,
and for the mischief done at the theatre in the
dressing rooms and wardrobe — and the manager was
indicted for assaulting and beating Kelly — various
were the opinions and wagers on the events of these
trials— Victor was laughed to scorn for believing ft
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1746-1747. 353
Jary could be found in Dublin that would find a Gen-
Ueman ffuilty— this sounded harsh to the ears of Vic-
tor who was an Englishman — when the time drew
near. Lord Chief Justice Marley sent for the High
Sheriff, and directed him to make out and bring him
a list of able Jurors — ^this message was immediately
spread through the city, and as the usual iniquitous
practices of Under Sheriffs and packed Juries were
intended for this cause, the disappointment struck
such a panic into the whole party, that they gave
themselves up as undone, from that circumstance.
The day appointed for the trials came on— Sheri-
dan appeared as the first culprit, and was tried for
assaulting andbeating Kelly — but it fully appearing
on the oaths of 3 or 4 men, whose honesty was un-
qaestionable, that that gentleman gave the manager
such provoking and abusive language in his dressing-
room, as compelled him to beat him out of it, the
Jury acquitted the prisoner without going out of the
box.
Kelly was next tried — when there was a multitude
of witnesses to prove the facts charged in the indict-
ment— on Sheridan's being examined, a very learned
counsellor on the side of the prisoner rose up, and
insolently said ** I want to see a Curiosity — I have
'* often seen a Gentleman Soldier, and a Gentleman
" Taylor, but I have never seen a Grentleman
^^ Player'' — Sheridan bowed modestly, and said,
" Sir, I hope you see one now/'
Mr. Justice Ward tried both the causes in the
presence of the Lord Chief Justice and a full bench,
who all seemed inspired to do all in their power to
punish those disturbers of public liberty — his lord-
VOIm z. a a
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S54. 1746-1T4T.
ship ordered his tipstaff to whisper a gendeman in
court, who was one of the principal rioters, and
against whonot complaints had been made of his ill
conduct in public, to meet him in his chamber, when
he left the bench— where his lordship obliged him
to give bail for his good behaviour — in short the Jury
found Kelly guilty, and he was sentenced to a fine
of £500 and 3 montlis' imprisonment — after the sen-
tence was given, the Chief Justice was pleased
to observe, that attention should be chiefly given to
the conduct of those gentlemen at the theatre, as
that was the place of public resort — and added that
any person who forced his way behind the scenes,
where money was not taken, if he was apprehended
and brought into court and the fact proved there,
should feel the utmost severity of the law.
When these lawsuits were first commenced, maoh
was said of the hundreds that would be subscribed
to support the Gentleman, as Mr. Kelly was called
— but when it came to the point not a farthing was
subscribed— and Kelly, deserted by his party and be-
come fully sensible of his error, after he had suf-
fered a week's confinement, at last applied to She-
ridan— who solicited government to relinquish the
fine of £500, which was granted him— he then be-
came solicitor and bail himself to the Court of King's
Bench for the enlai^ement of the young gentleman.
Thus ample redress was procured for the manager
by obtaining that respect to be paid to the scenes of
the Theatre Royal in Dublin, which no theatre till
then had the happiness to obtain — and from that
hour, not even the first man of quality in the king-
dom ever asked or attempted to get behind the scenes
Digitized by VjOOQ IC
c s. 1746-1747. 355
—whereas before that time every peracm who was
master of a sword, was sure to draw it, on the stage-
door keeper, if he denied him entrance.
Thus was the long usurped tyranny of a set of
wanton dissolute Gentlemen (the greatest nuisance
that ever any city groaned under) effectually subdued;
and the liberties of the people recovered by a worthy
Chief Justice and an honest Jury.
Flushed with this happy conquest, the Manager
went in the spring to London to provide for the en-
suing winter— (Kic^ior) — ^the remainder of the season
proved very good. (Hitchcock.)
CAPEL STREET 1746-1747-
Tho' Sheridan's efforts as manager had been
crowned with success, yet opposition had not entirely
ceased— the theatre in Capel Street opened Jan. 8di
with the Provoked Husband, when Miss Mason, after-
wards Mrs. Heaphy, acted Miss Jenny— «he was
then very young, had just appeared on the stage, and
played the girls with great success.
On March Sd Giffard Jun. made his 1st app. at
A A 2
Digitized by
Google
356 c. s. 1746-1747.
that theatre in Sir Harry Wildair in the Constant
Conple. Col. Standard = Wright : Beau Clincher =
Lajrfield : Clincher Jun. = Mason ; Smuggler = My-
nitt: Lady Lurewell^Mrs. Dale: Angelica = Miss
Mason : Parly = Mrs. Lajrfield : — with Devil to Pay.
Jobson = Layfield: Nell = Mrs. Layfield. (Hitch^
cock.)
Love in a Mist was brought out in the course of
the season — Jerry (servant to Young Willmore) =
Mason : Young Willmore = Wright : Sir William
(his father) = Mynitt : Charlotte = Mrs. Mynitt:
Kitty = Mrs. Farrell: — Young Willmore had fallen
in love with Charlotte at Oxford — she had used him
ill — he had come to London, and had fallen in love
with Kitty— he knows her to be a kept mistress, bat
has no suspicion that his own father is her keeper--
Charlotte follows Young Willmore to London — she
is disguised as a youth — she and Young Willmore
meet at Kitty's lodgings — each of them makes love
to Kitty — she gives the preference to Charlotte —
Jerry announces to his master that his father is
coming — Young Willmore at first affects not to know
his father — at the conclusion Charlotte discovers her-
self — Charlotte and Young Willmore are united —
Sir William gives Jeny £200 to marry Kitty —this
is a good Farce in one act
Mynitt came out at the Hay, and from thence
went to Bath, where Chetwood says there was a
regular theatre, and an audience as difficult to please
as that in London — there he gave so much sati^
faction that several persons of taste and distinction
promised to recommend him to one of the theatres
in the metropolis — but a company setting out for
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s. A. 1747-1748. 357
Ireland, he thought proper to join them — he was a
very good actor in Polonius and parts of that de-
scription. (Chetwood.)
S. A. 1747-1748.
Dublin Sep. 25 1747* Last Week arrived from
England Mr. Woodward from C. G., for some years
esteemed in London, not only the best Harlequin,
bat one of the best Comedians of the age — we hear
he is engaged by Mr. Sheridan to perform here
this season. (^British Museum.)
Sep. 28. Woodward made his first appearance
in Marplot, and soon grew a favourite with the pub-
lic—- Victor in a letter to 6arrick,dated Oct. says —
" Woodward has performed here 5 nights — ^Marplot,
** Sir Novelty, Brass twice, and Clodio — and was
**very much liked in all — I think least in Sir Novelty
*' — but his flash is beyond all things of the kind
"ever seen.
"We shall be obliged to you, if in your next letter
" you will inform us, who are the persons belonging
"to the royal &mily, that daim the liberty of your
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858 s. A. 1747-1748.
« theatre — I mean, if any, and who, every play
<< night ? We all know there are an appointed num-
** her, when the King, or any of the royal fiunily
" goes to the house — the reason of this inquiry, is
" to form some application to the Lord Lieutenant
** to redress the insupportable grievance this theatre
*^ labours under— you know it is an old custom here,
"for government to pay £100 a year, for the Gover-
" nor and his court— and as the theatre royal is now
" under new management, a list has been made out,
" (I suppose at the secretary's office) of 92 persons,
" who claim a free seat in the theatre every night, if
<< they please to demand it.''
Some excellent dancers were engaged — and on
Woodward's account two old Pantomimes were
revived — ^they added however but little to the receipts
of the theatre, and the new one brought out in
February was played to an audience under £100—
the 2d night it was tacked to the Fair Penitent — in
which Sheridan and Miss Bellamy performed, when
ibere was not above £20 in the house — this contempt
for Pantomime, was highly to the credit of the peo-
ple at Dublin, who would not disgrace their under-
standings by encouraging such childish exhibitions—
however this proved a profitable season to the mansp
ger, and indeed to the whole company, whose benefits
were greatly assisted by the performancee of Wood-
ward.
At the end of March, the Manager took another
trip to London to provide for the following seasoni
and left Victor, as before, in the most troublesome
part of the management — that of appointing, settling
and securing the charge of the several benefit plays
Digitized by VjOOQ IC
1748-1749. 359
— a bttsineBs diffiealt to aocommodato with so large
a body of people, at such times peculiarly devoted to
their separate interests. ( Vtctor.)
At the end of the season Miss Bellamy left Dublin
— Victor expresses himself somewhat ambiguously
as to the time she left Ireland, but says she was en-
gaged by Garrick — Hitchcock says she left Ireland
at the close of the following season, and repeats the
mistake about Garrick — Wilkinson is correct — he
says that Miss Bellamy on her return to England
was engaged atC. G.— -see Oct 22 1748.
DuUin March 5 1748. Mr. Foote is arrived from
London to give Chocolate at 1 1 in the morning at
the Theatre in Capel Street. (B. M.)
1748-1749.
Sheridan engaged — Mrs. Vincent— Mrs. Bland —
Miss Minors— Mozeen — Storer— and in the musical
line— Mr. and Mrs. Lampe — Signer Pasquali — Sul-
livan— Howard — Mrs. Storer and Mrs. Mozeen —
this musical party was articled for 2 years — their
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360 1748-1749. r
salaries amounted to £1400^ but the profit accruing
from their performancea did not amount to £150,
which was paid for the writing of their music.
(Victor.)
" Interdumpopultts rectum videt.**
To this calamity was added another — Macklin
and his wife were engaged — Macklin's Shylock —
Sir Paul Plyant — Lovegold — Ben — Sir Gilbert
Wrangle — Scrub — Trinculo, &c., were masterly
pieces of acting and universally admired — Mrs.
Macklin's Lappet — Lady Wrangle— Lady Wrong-
head — Nurse in Romeo and Juliet, and characters
in that style, had great merit — but the sum of £800
per ann., which Sheridan had agreed to give them
for 2 years, was lai^er than he could afford to pay,
and he was a loser by the engagement.
(Victor and Hitchcock.)
Mrs. Bland was afterwards Mrs. Hamilton, she
improved considerably in her acting during the time
she was in Ireland.
Storer, tho* young, chiefly acted old men in Comedy
— he gave satisfaction in Gomez, Foresight, and
parts of that cast.
Mozeen had been on the stage but 2 or 3 years —
he had a good person and voice, and was considered
as an improving actor. (^Chetwood.^
Mrs. Mozeen was originally Miss Edwards, and a
pupil of Mrs. Clive, who gave up Polly to her and
played Lucy* — her powers were weak, and her ti-
♦ See C. G.May 29 1745.
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1748-1749. 361
midity rather kept her back as au actresss — owing
to her making ^fauxpas^ the chaste Clive discarded
hw " and let her down the wind to prey at fortune,**
Some years after this time, when Wilkinson be-
came acquainted with her, she had a plurality of
lovers, and always put him in mind of what Lear
-<* Behold yon simpering dame.
*< That minces virtue, and does shake the head
" To hear of pleasure's name,*' &c.
So it was with Mrs. Mozeen, for at the least loose
joke, she blushed to such a degree as to give the
beholder pain for an offence not intended. ( WiU
kinsan.)
Victor says — << Jack the Giant Queller was gotten
" up with no little trouble and well performed —
** but as there were 2 or 3 satirical songs against
*< bad governours, &c., it was the next morning pro-
" hibited by the Master of the Revels.'*
This dramatic Opera is in 5 acts with 51 songs— it
would have been vastly better if Brooke had com-
pressed it into 3 short acts — the Giants are Gali-
gantus, or Power, Rumbo, or Violence, and Blun-
derbore, or Wrong — in the 1st act they have some
contention — their father, Plutus, or Wealth, ascends,
and reconciles them — he gives his wand to Gali-
gantos as being his eldest son — he counsels them
to take the maid Jillian Justice prisoner — ^they
do so, but no one of them can draw her sword,
tho* each of them attempts it — in the 5th act, John
Good, alias Jack the Giant Queller, draws it with
the greatest ease— Galigantus immediately drops his
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362 1748-1749.
wand) and the Giants are subdued Many parts
pf this piece are written with great ingenuity,
others are dull — the satire is perfectly free from per-
sonality, and could give no offence to any person
of honest and upright principles.
In the 1st act Jack sings —
<< The laws they were made for the little ;
<* In the hands of the strong,
" All the ties, that belong
<* To justice and honour, are brittle.
• • • • « «
<< The laws they were made for the little,
*< Though Churchmen may preach,
** And Philosophers teach,
« The great will not list to a tittle.^
Platus sings, addressing himself to Galigantos—
<< Let Governors thrive ; and each Prince on
" his throne,
" In peace and plenty reign, son,
" Tin you find that by talents and virtues alone,
<< One man shall to honour attain, son.
** Let Party in turbulent senates debate,
*^ Nor matters it who shall gain, son ;
<* Till you find that one act for the good of the
" state,
<< Has enter'd in cither's brain, son/*
Act Sd— 2d Beggar.
« This Robin Hood of whom you sing,
" Was he, mayhap, a beggar, or a king ?
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1748-1749. 363
Ist Beggar.
** Both, both ; for like a gallant prince, my
" brothers,
<< He lived but by the toil and spoil of others :
<< And from the king most Christian, to the Turk,
*^A11 men are beggars, mark,— who will not
" work.**
Air 17th.
'^ However some in coaches, on barrows some
"may beg,
" 'Tis want that makes the Mendicant, and not
" the wooden leg.
" 'Tis thus by greater poverty, our nobles grow
" renowned ;
" For where we want a penny, state-beggars want
" a pound.
• « • « # •
" Your courtier begs for honour, and that's a
" want indeed j
** As many should for honesty, but will not own
" their need.
• «••••
" Your vizier begs for subsidies, your party-men
" for place j
** Your churchman for a benifice ; but ^not
« a man for grace.
<< Then all, from Rome to London^ are of the
" begging train ;
<< But we who beg for charity — must look to beg
" in vain."
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364 1748-1749.
Act 5th, Jack exhibits his raree-show ; and singB—
<' I first present yoa a prime minister^
<' Free from thought or action sinister ;
<< Public^ood his square and measure,
<< Himself his country's trust and treasure I
*< Who'll show me such a show ?
• • • « • •
** Here's dependence without servility ;
" Peers to virtue who owe nobility j
** This you scarce will credit, till you see,
" Next, where pie^ weds witii prelacy I
<* Such a wondrous show I"
There are 3 more verses— Jack next produces bis
merchandize, and sings 4 verses.
^< Here are crutches for those who in virtue are
" lame
" And stilts for support of high station ;
'* Sophistical varnish to gloss a foul scheme
'* And patches for spots in the nation."
Brooke on the revival of his play in 1755-17^6,
wrote an excellent Prologue.
^* From a free stage commanded to retreat,
^* Shun'd by the cautious, silenced by the great,
<< Our author opens all his heart to view»
^' And wishes to be tried, by heaven, and you.
• • 4^ « 4^ •
<' If e'er disloyalty has stained his pen,
** Or Action pois'nous to the peace of men ;
^* K yet one verse from malice leam'd to flow,
*< Or made, of worthy men, a single foe }
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1748-1749. 365
<< If eveiiy when vice stood hateful to his sight,
** He pointed where one partial shaft should
« light—
<< He then will be the foremost to declare,
<* His sufferings merited, their censure fair,^ &c.
In Brooke's works this piece is called <* Little
'< John and the Giants"— the Editor of the B. D.
says that Miss Brooke in her edition cut out many
passages, and even whole pages.
Id February a young Lady under the assumed
name of Danvers made her first app. on the stage
in Indiana, and was received with great marks of
indulgence and approbation — some time after she
played Monimia, Athanais, Sigismunda, &c.— she
afterwards married Victor and retired from the
stage.
Towards the close of the season Brooke's Earl of
Essex, which had never been acted, came out.
{Hitchcock and Victor.)
May 8. S. A. Miser. Lovegold=Macklin : Fre-
derick = J. Elrington : Ramilie = Barrington: Cleri-
mont = Ross: Mariana = Mrs. Bland: Lappet =:
Mrs. Macklin : Harriet = Mrs. Vincent : — (H.) Wil-
kinson says that Barrington was not a good Come-
dian, but yet in law Irishmen, such as Teague in the
Committee and Twin Rivals, he was the best (Moody
excepted) he ever saw — he was but an indifferent
Sir Callaghan.
The manager had sustained a heavy loss by his
engagement with the musical performers, of which
another year remained— but Victor luckily hit upon
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366 174©.1760,
a plan for transferring them to some musieal society,
which was effected.
1749-1750.
The theatre opened in Nov. with Lotc for Love.
Valentine = Sheridan : Ben = Macklin : Miss Pme
riMiss Mason : Angelica = Mrs. Bland.
Theophilus Gibber paid Ireland a second visit this
season, and added much strength to the Comedies—
Miss Griffith, a tolerable actress, made her first app.
at this time— but what must ever render this period
remarkable was, that it was marked by the first
essays of two such performers as Digges and Mossop.
Digg^B* fitmily connexions (he had been at one
time presumptive heir to an Earldom) and the many
singular circumstances which mariced his entrance
into life, were so well known, that his 1st app. en-
gaged the attention of the politest circles Digges
possessed almost every requisite to form a great
actor — nature had bountifully bestowed her fiaivours
upon bim-*his figure was happily suited to represent
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174»-1760. S67
tbe heroy lover, or man of fashion — his person was
tall and elegant^ yet manly — his countenance open,
yet impressive — ^his eye marking and full of vivacity
—his address was easy and engaging — his manners
refined and polished — he had received a liberal edu-
cation — and few men ever sacrificed more to the
graces — no man was ever a greater favoarite with
the fair, or a more pleasing companion among his
own sex.
Nov. 27. Venice Preserved. Pierre = Sheridan :
Renault = Gibber Jun. : Belvidera = Miss Danvers :
'^ and the part of Jaffier by Mr. Digges, a Gentleman
''lately arrived from England, who never yet ap-
"peared on any stage'' — ^ he supported his cha«
racter with feeling, tenderness and variety, beyond
expectation — but he had a harshness in his voice,
which time afterwards considerably abated. {Hitch^
cock.)
Victor in a letter to Colley Gibber (Dec. 1749)
says — ** according to your request I send you my
*' opinion of Digges — I have waited to see him in
'^ three parts — I stood by him at his first entrance
" in Jaffier, and observed that not a single nerve
'* deemed disordered — the audience saluted him with
^' peals of applause — he went through the part
^* with great spirit, and gave manifest proofs of a
*' genius for the stage — his next part was Lothario,
'* which he supported with the necessary accom*
*' pli Aments, yet he did not appear to so much ad-^
^' vantage from the superiour strength of Sheridan in
** Horatio — in King Lear he showed his application,
** but not his talents for that character, it appeared
*' to be a weak imitation of Garrick.'*
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S68 1749-1750.
On tbe next night after Digues* first app.^ the
Revenge was announced — << Zanga by Mr. MosBop*
<< a Gentleman of this kingdom, who never appeared
" on any stage/'
There was a most striking contrast between these
two competitors for public favour.
The part was judiciously chosen, and Mossop dis-
played an astonishing degree of beautiful wildness—
his action was, what in some measure it ever re-
mained, awkward and ungraceful — an untutored
manner predominated through his performance, yet at
times such extraordinary marks of genius broke
forth, as evidently indicated his future greatness —
he had been educated in the University, and the pit
was on this occasion crowded with C!ollegians, who
supported their fellow-student in the warmest man-
ner.
Dramatic entertainments had now arrived to a
perfection often wished for, but never expected in
Ireland — the public beheld in one theatre — Sheridan
— Mossop— Digges — M acklin — T. Cibber — Ross—
Elrington— Bardin— Morgan — I. Sparks— Kennedy-
Sullivan — Howard — Beamsly — Mrs. Macklin —Mrs.
Bland— Miss Danvers— Miss Griffith — Mrs. Storer
— Mrs. Lampe— Mrs. Mozeen — Mrs. Kennedy —
besides others of less note.
In this list which Hitchcock here gives us, he is
incorrect — the Morgan mentioned by Chetwood
seems to have been dead — and it is clear from Victor
that the musical performers had left the theatre.
The Tragedies in general were capitally performed
— Julius Cfissar. Brutus = Sheridan : Cassias ==
Mossop: Antony = Digges.
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1749-1750. S6i)
Orphan. CastaltozzDigges : Chamontr: Sheridan :
PolydoFe=:IVIo88op: Chaplain =: T. Gibber: Moni-
mia=Mi88 Danvers.
Jane Shore. Hastings = Digues : Dumont =
Sheridan : Gloster = Mossop : Jane Shore = Miss
Danvers: Alicia = Mrs. Bland.
With such a company no wonder that there was a
most profitable and brilliant season — at the close of
it the Manager foand his receipts encreased £^000
beyond any of the preceding years.
(Victor and Hitchcock.)
Victor in a letter to Garrick, (May 7 1750) after
mentioning Digges as having played Hamlet, 8cc.f
adds — *< He acted Plume for the benefit of his friend
^* Theo. Gibber— and tho' his person seemed greatly
^* cast for the part, his voice in prose speaking is less
*< articulate — his spirits unequal — and he is the
^< second instance I have met with, of a man being
<< a much easier fine gentleman o£f the stage than on
« it — but as it was his first attempt in Comedy, he
<* may improve there — never man since the creation
*< made so promising an onset as Digges, but he has
<* not gained one inch of ground since — Mossop on
<< the contrary has mended since his first performance
<< — and if I have any foresight in the business he
" will greatly excel Digges."
Victor says Mossop had acted Ribemont in Ed-
ward the Black Prince.
Hitchcock does not mention any quarrel between
Sheridan and Macklin, but that a serious quarrel did
take place is certain — Hitchcock says Macklin acted
Ben in Nov. 1749 — Mackliu's biographers represent
VOL. X B B
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370 1749.1760,
him as quarrelling with Sheridan soon after his arrival
in Dublin — Kirkman says Macklin did not act long
under the management of Sheridan before several
disputes took place — he then gives us Macklin's own
account of the matter from his Memorandum book
— ** Sheridan brought over Mr. and Mrs. Macklin
<< from London^ and discharged them in the middle
<< of a season, without giving them any notice, or
^* without assigning any cause — and at the same time
<< refused to pay Macklin the money that was due to
<* him, which was £800 according to an agreement
<^ — Macklin filed a bill in Chancery against hioi, on
<< which Sheridan paid £300 into Court, and Macklin
*^ took that sum, rather than be detained unemployed
<< in Ireland, or wait the event of a Chancery suif*
Cooke says — ^< Macklin was never long constant to
*^ any theatre — scrupulously attached to what he
^* called feme, unconciliating in his manners, and
** suspicious in his disposition, it was at best difficult
^^ to make him draw quietly in the team — ^but when
'< he found, or fancied that he found the least diffi-
<< culty thrown in his w$iy, he became restive and
*^ ungovernable — scarcely had he been a month in
^^ Dublin, when he began to find out that the mana*
'< ger chose to perform Tragedies as well as Comedies
" — that his name stood in larger characters in the
f ^ playbills, and a variety of such grievous matters—
'^ at last his temper became so intolerable, that ac-
*^ cording to the language of Trinculo ' though She-
" ridau was King, Macklin would be Viceroy over
^' him'— this determined Sheridan to shut the doors
<* of his theatre against both Macklin and his wife*-
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1749-1750. 371
" this however so far from bringing him to reason,
<< provoked his irritabilities the more — he several
*^ times presented himself at the stage door — no ad-
" mittance — ^he then sent the manager an attorney's
** letter — no answer— he then commenced a Chan-
" eery suit, and afler waiting the whole winter unem-
" ployed, he returned to England with some hun-
'< dredsminas, and a law suit upon his shoulders into
" the bai^ain.'*
Cooke adds — " on his return to England he com-
*^ menced manager at Chester for that season, and
** in the winter was restored to C. G."
This statement agrees perfectly with what Hitch-
cock says, as to Macklin's acting of Ben in Nov. 1749
He made his first app. at C. G. Sep. 24 1750
^On the whole it seems most probable, that She-
ridan put up with Macklin's temper for the first sea-
son— and that they did not come to a complete rup-
ture till 1749-1750 — see the bill for the Miser May
8 1749* which Hitchcock gives at full length as a
regular copy of the playbill.
Victor in a letter to Garrick (without a datej says
— *< You ask me after the cause of the quarrel be-
<' tween Sheridan and Macklin -— the latter had not
'* been in Dublin a month, before he swore in my
'* hearing that Sheridan was manager mad! — and in
<< my opinion, the first instance he gave Macklin of it,
** was by agreeing to give him and his wife £800 a year
** salary — for comic actors without proper support
*« cannot prosper — Sheridan was obliged very soon
<< (for his own sake) to push in so many of his strong-
^< est Tragedies among the Comedies (which made the
B B 2
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372 1749-1750.
'* disparity of the aadiences 80 obvious) that Macklin
<* began to ran mad himself, about marketahU fame 1
<< — a phrase of his, which I doubt not but you are
'< acquainted with, and as a manager have felt the
<< plagues of marketable fame— this furor of Maddin
'< was carried to so whimsical a length, as to produce
<* his compasses to measure the size of the type of
<' Sheridan's name in the playbills with his own—
'< being determined not to give even a hair^s breath
<< to the manager ! — ^this spirited action of Macklin's
*< being submitted to, was soon, of course, productive
<< of many others of the same nature — every time he
<< drank too much daret, he was shamefully abusive
'< in the green-room— and at last, to show his tho*
<< rough contempt for Sheridan as manager, Macklin
<< went on the stage one night after the play, and
V gave out a Comedy for his wife's benefit, without
<< either settling the play, or the night with the ma-
'< nager — ^this you know, was so notorious a breach
<* of all theatrical discipline, that Sheridan was com-
<< pelled to order the doors to be shut against the
^'Macklins, and to leave him to seek his redress
<* from the law, and they are accordingly in the Court
<< of Chancery, where they may remain till domes-
** day/'
CKeeflFe says— vol. 1. p. 357 — "about the year
<< 17^0, La3rfield was in high estimation as an actor
<* ^his distinguished paits were Yentidius, lago,
'* Cassius, Syphax, and Apemantus — one nigfat,
'^ doing lago (Sheridan the Othello) Layfield came
" out with,
" Oh my Lord ! beware of jealousy,
" It is a green-eyed Lohster.^^
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1749-1750. 373
" after this the play could go no further— he was at
^< that moment struck with incurable madness !— the
^ above * green-eyed lobster' was the first instance
" poor Layfield gave of this dreadful visitation — I
** had this anecdote from Sheridan himself/'
Chetwood, in 1749f says—" I remember Lewis
^^ Layfield at D. L., when I was in my youth, a nim-
" ble active Scaramouch, before he was loaden with
^ that burden of flesh he now carries about him — at
*^ that time he was such a person as his eldest son,
*^ Robert Lajrfield, appears at present — Layfield has
" been a main pillar, time past, in supporting the
" Dublin theatre, and therefore ought to be respected
^^ in his decline — ^but he is happily engaged for life,
*' and of consequence (if articles are binding) will
^^ receive his salary to the day of his death — there
*^ are several parts he might still perform with satis-
<< Action, as Hob, Jobson, and many others— for the
<< audience (in well-esteemed actors) will 'bate them
** something of the years for the service they have
« done."
O'Keeffe's account of Layfield does not exactly
agree with that of Chetwood, but there is no mate-
rial difference between them — it is not improbable
that Sheridan, on losing Macklin in the middle of a
season, might have recourse to Layfield, as a substi-
tute for Macklin in lago.
On the death of Elrington in lyse, Layfield be-
came one of the three managers of the theatre— he
had been engaged at D. L. in 1709-1710— and had
acted Scaramouch on the 27th of December.
Robert Layfield was a very good actor in several
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S74f 1750-1751-
parts, particularly Kite — (^ChettvoodJ) he was proba-
bly the person who acted fieaa Cliucher at Capel
Street in 1746-174? and Kite, &c. at D. L. in
1750.1751.
1750.1751.
General Advertiser. Dablin Sep. 15 1750 Gibber
is arrived — Dublin Sep. 18 Mrs. Bland is arrived,
and is to appear in Miranda to-morrow. (British
Museum.)
Sep. 19* Miss Cole, a pleasing little actress fiom
D. L., made her 1st app. in Isabinda (in the Busy
Body) and in the Virgin Unmasked.
King made his first app. in Ranger — he had been
two seasons at D. L. — Hitchcock speaks of him ra-
ther as what he proved afterwards, than as what he
was in 1750 — Victor more correctly says, he was an
actor of promise — however he improved almost every
day in his profession, and in the esteem of the
public.
Robertson, who was for 20 years in the Yoric coin-
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1750-1751. 375
pany, and ^ho was a good actor in the comic line,
made his first appearance on the stage as Snap in
Love's last Shift. (Hitchcock.)
Victor in his 60th letter dated Dec. 17^0 sa3rs —
'< The entertainments at Dublin were never in so
** high a tide as now — we have the famous Turk two
*^ nights in the week at Aungier Street, and 4 plays
*^ at S. A., from all which I have received £600 a
" week, for many weeks past — great doings for Dub-
" lin" — yet Victor in his History of the Theatres
tells us that the receipts of this season were very
8bort of those of the preceding one— the novelty of
Digges and Mossop was over-— Mrs. Bland, whose
diligence in her business was much to her credit,
though greatly improved, was unable to support all
the capital characters to which she was now pre-
ferred.
Mossop went o£f for London before the season was
closed, on some dispute with the manager— •( Victor)
*— he had some peculiarities in his temper, which
rendered it not easy to live on terms of friendship
with him — after acting Zanga for 3 nights at his first
outset, he appeared, for the 4th time, in Richard
the 3d, and absurdly dressed himself in white satin
puckered — Sheridan justly observed that it had a
most coxcombly appearance — the remark reaching
Mossop's ear, he went to the manager's dressing-
room, and addressed him thus — *^ Mr. She-ri-dan, I
■ * hear you said that I dressed Richard like a cox-
*^ comb — ^that is an af-front — you wear a 8word> pull
'* it out of the scab-bard— 111 draw mine and thrust
"it into your bo-dy"— this furious attack Sheridan
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376 1761-1762.
smiled at — an explanation took place» and the aflhtr
ended amicah\y--r^IIitehcock) — Wilkinson represents
Mossop as talking in the same way as Hitdicock
does here.
1751.1752.
Heaphy, a gentleman of very good family, who had
been in the army for several years, finding himself at
the conclusion of the peace in 174S, at liberty to
follow the bent of his disposition, went on the stage
— for which his figure and abilities were well qualified
— ^his 1st app. at S. A. was Oct, 7th in Manly in the
Provoked Husband — he had played for some few
nights in Capel Street
Davies and his wife were engaged, and were very
useful — he came out in Sciolto and she in Indiana.
(Hitchcock.)
Mrs. Woffington arrived from England, with the
hopes, no doubt, of an early application from the
manager to engage a person of her merit for the en-
suing season— CoUey Cibber, who corresponded with
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1751-1752. 377
Victor, did not fail to transmit to him exact accoonts
of the sarprisiog improvemeDts of Mrs. Woffingtoii
—but as Gibber retained the air of a lover long after
the age of 70» Victor attributed his praises of her in
Tragedy, to the excess of his passion — Sheridan, who
had not seen her on the stage for some years, was
not easily persuaded that her abilities were superior
to those of Mrs. Bland, who was then in articles
with him — ^however being pressed to it, he engaged
her, for this season only, at £100— which proved a
very fortunate circumstance for him. ( Victor.)
Her 1st character was Lady Townly Oct. 7th— her
fiext Andromache in the Distressed Mother — Orestes
=: Sheridan : Pyrrhus = Digges : Hermione = Mrs.
Bland.
Conscious Lovers. Young Bevil = Sheridan : Tom
= King : Cimberton = Gibber Jun. : Mjnrtle = Digges :
PhiUis = Mrs. Woffington : Indiana = Mrs. Davies.
Mrs. Woffington afterwards acted Constance —
Cleopatra— Lady Betty Modish— Estifania — ^Rosa-
lind— Zara in M. B.— and Lothario. (Hitchcock.)
By four of her characters each performed 10 times
—viz. Lady Townly — ^Maria in the Nonjuror— Sir
Harry Wildair and Hermione in D. M. — ^there were
taken above £4000 — an instance never known on
the Irish stage from four old stock plays— and in
two of them the manager did not act. {Victor.)
Victor, in a letter to the Countess of Orrery dated
Oct. 21 1751, says — " Mrs. Woffington is the only
''theme either in or out of the theatre — her per-
'' formances are in general admirable — she appeared
'* in Lady Townly, and since Mrs. Oldfield, I have
'' not seen a complete Lady Townly till that night-
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378 1751-1752.
*' in Andromache, her grief was dignilBed, and her
'^ deportment el^ant — in Jane Shore nothing ap-
^ peared remarkable bather snperioar figure — ^but in
'< Hermione she discovered such talents as have not
^* been displayed since Mrs. Porter * * in short
^* poor Bland is inevitably undone — ^for those fools
'< (her greatest admirers) who had not sense enough
*<to"see her defects before, now see them by the
** comparison."
Mrs. Woffington's success no doubt made Mrs.
Bland glad of an engagement at C. G. for the next
season.
In the Gentleman's Magazine for Dec. 17^1 there
are some pretty good verses, either written by Mrs.
Woffington, or in her name — it appears that the
Duke of Dorset kissed her April 4th 1746— she peti-
tions for a kiss every year.
Feb. 11. Love for Love. Valentines Sheridan:
Scandal =Digges : Tattle = Gibber Jun. : Jeremy =
King : Sir Sampson Legend = I. Sparks : Ben =
Stevens : Foresights Mynitt: Angelicas Mrs. Bland:
Mrs. Frail = Mrs. Woffington : Miss Prue = Miss
Cole : Mrs. Foresight = Mrs. Lee : Nurse s Mrs*
M ynitt. (Hitchcock. )
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1752-1753. 379
1752-1753.
The season opened Oct. 10th with Digges in Cap-
tain Madieath, a character which he was thought by
many to act better than any body else — ^but Hitch-
cock considered him as too eccentric — the Dramatic
Censor says he had great merit — the next night
Sowdon (who had been some few years at D. L.)
made his first app. in Othello— a character to which
he was not suited — he remained many years on the
Irish stage, and, tho' not a great actor, went through
a variety of business with credit* (^Hitchcock.)
Sowdon was a sensible shrewd man, looked on in
general as remarkably insincere, tho' Wilkinson says
he never saw any thing of that sort in him, but quite
the contrary in his behaviour to himself— he was very
entertaining and a great Epicure— he made himself
generally liked, as he never contradicted any body,
but always assented — if a gentleman at his table said,
«' Sowdon that cabbage leaf, these strawberries are
<* on, is a fine leaf," he would swear a great oath,
that the cabbage leaf was not only a handsome cab-
bage leaf, but by heaven the handsomest cabbage leaf
that ever grew. ( Wilkinson.)
Hitchcock says it was early in this season that M i*s.
Green came out in Flippanta, and CostoUo in Money-
trap in the Confederacy — but Victor tells us that
Mrs. Green was brought from C. G. in Mrs. Wof-
fington's first season, that is 1751-1752 — Victor is
Digitized by VjOOQ IC
380 1753-1754.
probably right as to the date, bat Mrs. Green cer-
tainly came from D. L, and not from C. G. — she
acted at D. L. Sep. 24 1751, but her name seems not
to have been in the bills after that time.
In May Dexter came from D. L. and made his 1st
app. in Oroonoko— Mrs. Woffington acted Widow
Laddt— (Hitchcock) — Dexter for several years acted
second parts in Ireland, but was rather dejected at
not succeeding better on the stage — the Dramatic
Censor says, he played Orlando, and Carlos (Love
makes) very well.
Mrs. Ward had been engaged from D. L. — and
Mrs. Woffington's salary had been raised to £800.
(Victor.)
1753.1754.
In 1753 Sheridan instituted the famous Beef Steak
Club — Victor says that there was a Club of ancient
institution in every theatre, when the principal per-
formers dined one day in the week together (gene-
rally Saturday) and authors and other literary pei'sons
were admitted members— but in the Club instituted
Digitized by VjOOQ IC
n53-175«» 381
by Sheridan he was at the sole expense, and the
persons invited were chiefly Members of Parliament
—No female was admitted but Mrs. Woffington» who
was placed in a great chair at the head of the table»
and elected President — it will easily be imagined that
a Gab where there were good accommodations, such
a lovely president, and nothing to pay, mnst soon
become remarkably fashionable — it did so— and the
consequence proved fatal— Mrs. Woffington was de-
lighted with the novelty of her situation, and had
wit and spirit to support it — the table was con-
stantly filled with her friends, who happened all to
be courtiers— and as not a glass of wine was drunk
at that time in Ireland without first naming the
Toast, it is easy to guess at the sort of toasts con-
stantly given at that Club — and as several persons
from the opposite party were introduced by their
fiiends as occasional visitors, the conversation and
general toasts of this weekly assembly became the
common talk of the town — and the manager was
severely censured for being the supporter of it, as
he most certainly was, being the person who paid for
all— at this juncture politics ran very high — Sheridan,
as manager of the theatre and principal actor, was
consequently at all times within the immediate re-
sentment of the provoked party — Victor in a letter
dated in Jan. says — ** the theati'e and all public di-
*' versions have greatly suffered by these commotions
^* — >«ven Mrs. Woffington has lost her influence, and
*' has the misfortune to exhibit to empty boxes."
Feb. 2. Mahomet was acted — Alcanor=Digges:
Zaphna= Sheridan: Mahomet = Sowdon: Palmira
=Mr8. Woffington :— during the rehearsal, several
Digitized by VjOOQ IC
382 1753-1754.
passages were talked of by the Anti-Courtiers as
pleasing them, and which they would not fail to dis-
tinguish— when the night of representation came 00,
the pit was filled very soon with the leaders of the
Country Party, and when Digges spoke the following
speech —
** If, ye powers divine !
" Ye mark the movements of this nether world,
<< And bring them to account, crush crush those
" vipers
** Who singled out by the community
" To guard their rights, shall for a grasp of ore,
" Or paltry office^ sell them to the foe I"
The moment he had finished it, all the party in
the pit roared out encore, which was continued with
such violence, that the actdr, after having been for a
short time astoniiihed, very readily spoke the whole
speech again, which was remarkably applauded — the
scenes between Zaphna and Palmira passed unno-
ticed—all the approbation fell on the character of
Alcanor.
As this was made a party business, Sheridan laid
the play aside for one month— but on the 2d of
March it was announced again for representation —
( Fic^r)— the day before it was to be acted, the ma-
nager summoned the whole company into the green-
room and read them the following lecture.
<* I am sorry to find that party has become so
" universal in Dublin, as to make its appearance
<< visibly on the stage — I am sure this is a most im*
" proper place for it, on which account I think it
" my duty to lay before you the rule by which you
Digitized by VjOOQ IC
1753-1754. 383
" ought to act at this jonctore— I do not pretend to
<' dictate to you in your private capacities, every man
<< has a right to think as he pleases and to speak his
<< sentiments —bat in your theatrical character I have
" an undoubted right at least to advise you — I lay it
'' down as a maxim, that the business of an actor is
** to divest himself as much as possible of his private
'' sentiments, and to enter, with all the spirit he is
** master of, into the character he represents — but if
** an actor, in order to please part of the public,
'* should by any unusual emphasis, gesture, or sig-
^^ nificant look, mark out a passage in his part (which
** at another juncture he would have passed by
<' lightly) as a party stroke, he in that instance steps
** out of his feigned character into his natural one,
** than which nothing can be more disgusting, or in-
** Solent to any impartial auditor * • • — whatever
*^ my private sentiments may have been, I defy any
^^ person to charge me justly, that the least glimpse
*< of them has appeared in ray conduct either as ma-
'^ nager or actor — I understand my duty to the public
** too well — it is my business to take all the precau-
** tions and care in my power that the audience
^' shall enjoy their entertainment in peace, and not
" by any act of mine to encourage party feuds —
^* I laid it down as a fixed resolution to observe in
'* my public conduct a strict neutrality — I deter-
<* mined to exhibit plays in the same order that I
** should have done, had the town been entirely free
*^ from party — and as on the one hand I would lay
<< no old play aside, lest it should appear an applica-
*' tion to the times, so on the other, I would revive
<' none purely to serve that end — for tho' I know
Digitized by VjOOQ IC
384 1753-1754.
<< maDy plays that would, in the present disposition
^< of the people, have filled my house many nights,
'< and consequently my purse, yet I should have
'< looked upon myself in so doing as a time-serrer,
<^ a prostitutor of the stage and a betrayer of the pah-
** lie.
<< Though it must be allowed, that the rule I had
** laid down for my conduct was the fittest to be db-
** served for the manager of a free stage, yet I was
<* far from escaping censure — ^persons of both parties
<< have often taken oflfence at passages, which they
<< themselves applied, and conclusions were drawn
" that the play was acted on purpose • * — and in-
'' deed this was unavoidable, as many incidents, cha-
** racters and sentiments occur in plays, and especi-
'< ally in Tragedies, which persons, whose minds
<< are biassed by party may apply, if they are deter-
<< mined to do so.
<< I do not remember that any of the performers
*^ during the rehearsals of Mahomet took notice of
<' any passage that might be applicable, or any sen-
^* timent that might be termed a party one — and yet
** they are generally as sagacious in finding out sudi
<< things as most people — and after having looked
** this Tragedy over again several times with the ut-
<< most attention, I own myself stupid enough to be
** still of the same way of thinking — nor can I see
<< how any part of it can be applied to the present
*< times, without great straining of the sense and
*< words — however as some persons judged other-
^< wise, I thought proper to lay it aside for some
^^ time, that people might read and examine it coolly
Digitized by VjOOQ IC
1753-1751. 385
'• — I now venture to bring it forward once more
«i • • •
•
'< As at the representation of this Tragedy an in«
'* novation was attempted — I mean a right claimed
** by the audience to encore a speech, I think it my
** duty to give you ray sentiments on that point —
'' if it be once established as a rule, that one part
** of the audience has a right to encore a speech,
*' another part of them may claim the same right—
cc • • • — If QQ^ pj^|,j. Qf jjj^ audience should cry out
'* encore, the other part has an undoubted right to
" cry out no more, as the first claim is founded nei*
** ther on reason nor custom— in such a case is not
<^ an actor certain of disobliging one party or the
*^ other ? and consequently liable to the resentment
^* and ill treatment of one or the other ?
** In such a situation, the actors would be in a
<* much worse condition than the musicians were
*^ formerly— we all know the dreadful usage they met
*' with in consequence of a claim of that nature from
" the galleries— they assumed a right of calling for
'^ what tunes they pleased, but not always agreeing
' ' upon the tune, one party roared out for one, and
'^ the other was as clamorous for another — and as
'^ the musicians could not possibly play both toge-
** ther, they thought that playing first one and then
''the other, would satisfy all parties — but that
* * would not do— if they played the one, the advocates
'* for the other thought they had a right of prece-
*^ dence, and saluted them with a volley of apples
'< and oranges — at last the outrage rose to such
^* a height that they threw glass bottles and stones,
•* cut several of the performers, and broke their in-
VOL. z. c c
Digitized by VjOOQ IC
386 1753-1754.
** BtramentB — then there was no reBOurce found,
<^ but that of ordering the band never to go into the
<< box, bat to play behind the scenes, at least till the
<^ pit was so full that they might be protected — this
^^ expedient, often practised, put an end to the claim,
^* and the band aftierwards performed without inter-
^' ruption — but the actors cannot play their parts be-
'' hind the scenes — their duty obliges them to a post
** open to the battery of an incensed multitude —
** some of whom would shower their resentment on
<' them through malevolence or personal pique,
** others through mere wantonness — ^nor is this an
^* imaginary or unlikely thing — every one who re-
** members the state of the stage before it was re-
^* scued from slaveiy, must know that the thing often
** happened merely through private resentment/'
(Hitchcock.)
Sheridan concluded with saying that in all new
cases he rather wished to persuade than command
— and he applied what he had been saying, to Digges
in particular — Digges in reply desired to know what
jwere the manager's commands in regard to his con-
duct on the ensuing evening — Sheridan answered
that he gave him no directions, but left him to do as
he thought proper — Digges then said '' Sir if I should
** comply with the demands of the audience, and re-
^* peat the speech as I did before ~ am I to incur
'' your censure for doing it ?" — the manager replied
** not at allf I leave you to act in that matter as you
" think proper.**
On the night of the performance the pit was full as
soon as the doors were open, the house was crowded,
and the fatal speech in the first scene — ^the moment
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1753-1751. 387
Digges had spoken it, he was called on to repeat it with
the same vehemence as on the former night — he seem-
ed startled, and stood for some time motionless, at last
on the continaed fierceness of the encores, he made
amotion to be heard— and when silence was obtain-
ed, be said ** it would give him the greatest pleasare
** imaginable to comply with the request of the an-
*^ dience, but he had his private reasons for begging
** they would be so good as to excuse him, as his
<< compliance would be greatly injurious to hirrC* — on
his saying this, they immediately called out Sheri-
dan I — Sheridan! the Manager I the Manager! —
and this cry soon became universal from all parts of
the house — after some short time Digges left the
stage— the manager ordered the curtain down, and
sent on the prompter to acquaint the audience that
they were ready to perform the play, if they were
suffered to go on in quiet— if not, all persons were
at liberty to take their money again — the prompter
was not heard — but obliged to withdraw — Sheridan
then smd with some agitation << they have no right
" to call upon me— I will not obey their call— I will
<< go up to my room, and undress myself — and so
he did — his friends left the pit and boxes, went to
his dressing-room after him, and entreated him to
endeavour to pacify the audience — ^but he remained
unmoved — and being strongly possessed that personal
mischief was intended him, he got into a chair and
went home, leaving the house in that uproar and
confusion.
Mrs* Woffington was persuaded to appear, and to
try what influence a fine woman could have on an
enraged multitude — but this was only adding fuel to
c c 2
Digitized by VjOOQ IC
338 1763-1754.
fire, as her political connexions were well known —
as Digges was the seeming favourite, he was desired
to assure the audience that Sheridan had laid him
under no injunction not to repeat the speech, and
therefore could not on that account have incurred
their displeasure — Digges went on, moved to be
heard, and a profound silence ensued— he repeated
what he had been desired — but in vain — as the party
had so long called for Sheridan, they insisted on
having him before them, and on his answering for
himself— at last when they were told that he was
positively gone home, they insisted on his being sent
for, and added that they would wait patiently for an
hour, as he was known to live at some distance —
and accordingly they sat down quietly to amuse
themselves — messengers were dispatched to the
manager to acquaint him with the resolution of the
house— but no ai^uments could prevail on him to
return back — when the hour was expired, the rioters
renewed their call, and after continuing it some
time, they fell to demolishing the house, and in five
minutes the audience pail was all in pieces — not
satisfied with this, some moved to fire the hoose,
others to attack the wardrobe— accordingly a party
leaped upon the stage, and, with their swords and
other instruments, cut and slashed the curtain, which
was finely painted and had cost a great sum of
money —they broke and cut in pieces all the scenes
within their reach— and some attempts were made
towards the wardrobe — but finding that place well
defended, they retired — and some, who went off
through the box-room, dragged the grate full of
burning coals into the middle of the room, and there
Digitized by VjOOQ IC
1753-1754. 389
laid some of the broken doors of the boxes upon it,
and left them there— in that condition they were
foand, and in time enough to prevent the intended
mischief. ( Victor. J
Victor seeing them attack the stage, and not
knowing where their fury would end, hastened
directly to the Castle to inform the Lord Lieutenant
of the danger they were in — the Duke of Dorset
sent away for the Lord Mayor, who excused him-
self as being ill of the gout— Victor then went in
pursuit of both the High Sheriffs to their houses,
and from thence to the taverns where he heard they
were — but he could find no magistrate above a
deputy constable till one o'clock in the morning — and
the captain of the guard very properly refused to
march under the direction of such a man— as the
riot at the theatre was expected, and as it was known
to be on a party occasion, the magistrates were sup-
posed to have concealed themselves designedly.
In this dispute the manager had quite lost the
favour and protection of the public— and his situa-
tion was very different from what it was in the
former riot, where all the advantages were on his
side — here he was given up by the grave and
judicious, nay even by the courtiers, who all agreed
that he should have stroked the growling lion, and
not have provoked him.
This universal opinion in his disfavour inclined
him to give up the management of the theatre, and to
determine to set his foot there no more — and accord-
ingly he took his leave in a veiy pathetic and affect-
ing address to the public, which was published about
a month after. ( Victor.)
Digitized by VjOOQ IC
390 1753.1754-
Victor blames Digges for his condact on the night
of the riot— and Hitchcock still more so — but with-
out sufficient reason— Sheridan was the person to
blame — no manager has a right to place an actor
in the situation in which Sheridan placed Di^es—
he ought really to have left Digges at liberty to act
as he pleased, or to have taken the consequences
of the refusal on himself— it is a poor yindication of
Sheridan, to say that he gave Digges a formal per-
mission to repeat the speech, if he chose it — after
the serious lecture Sheridan had given all the per-
formers in the green-room, and the pointed manner
in which he applied his observations to Digges p^-
sonally at the conclusion, Digges must of course be
extremely averse from acting in direct opposition to
the manager's sentiments — it was natural for him to
request to be excused for private reasons— and tho'
it Mras unguarded in him to add, that his compliance
would be greatly injurious to him, yet much allow-
ance should be made for his being so circumstanced,
as perhaps no actor ever was before or since.
The line of conduct which Sheridan ought to have
pursued was so clear, that it is really wonderful
that he could act so foolishly as he did — ^it was ridi-
culous in him to say that, after having read Maho-
met with the greatest attention, he could not see
any thing in it applicable to the present times— the
point in question was, not if there was any thing
strictly applicable, but whether there was any thing
likely to be so applied — he knew there was a set
of persons in opposition to the court, who seemed
most improperly determined to bring their politics
into the theatre — and to such persons perhaps
Digitized by VjOOQ IC
1753-1754.. 391
the whole compass of the Drama could not afford a
fairer opportmiity than the fatal speech which oc-
casioned so much mi^ohief'^Comman Sense therefore
plainly dictated to Sheridan to lay the play aside.
Victor thinks, with much probability, that if
Di^es had quietly complied with the encore, it
would only have delayed the evil — for the party were
so incensed against Sheridan on account of the Beef-
steak Club, that they were determined to encore him
the first opportunity, and his refusal would have pro-
duced the same consequence.
The Beef-steak Club was beyond a doubt insti-
tuted solely for theatrical purposes — but as Sheridan
gave the dinners in his public capacity as manager, it
was very injudicious in him not to discontinue them,
when he found they were perverted to i>olitical pur-
poses — but through the whole business his conduct
seems to have been warped by his own private
politics* — and even supposing that the laying aside
of Mahomet and the suppressing of the dinners would
not have appeased Sheridan's enemies, yet still he
would have had the satisfaction of putting himself in
the right— whereas by acting as he did, he was clearly
wrong— the utmost however that can be said against
l^eridan is, that he was very imprudent — whereas
the conduct of his opponents, was unreasonable as to
the encore — wantonly cruel as to the destruction of
the theatre — and most tyrannical as to the Apology
demanded two years after.
« This conjecture is confinned by a Gentleman, who says, that
Sheridan drew the storm upon himself by his attachment to court
principles -— and that he was wonderfully fond of a smile at the
Castle levee.
Digitized by VjOOQ IC
392 1753-1754.
Hitchcock says— *^ Asitis inthe midst of miBfortunes
** that the truly great mind shines in its native lustre, so
'< never did Sheridan's conduct appear in such noble
" colours as at this interesting period — tho' used
'^ with such unparalleled cruelty and ruined in his
** fortune past all hopes of retrieving, yet feeling for
** the performers, who were innocently involved in
<* his distresses, he resolved they should not partake
''of them — and with a disinterestedness which will
'' ever do honour to his character, generously gave
'' up to them the use of his theatre, or what re-
** mained of it with the wardrobe and scenery, for
'' the benefits during the rest of the season, not only
'' without any emolument, but with a certain loss to
"himself/*
Accordingly the theatre after undergoing some few
temporary repairs opened again March 18tb, about
a fortnight after the riot, by the command of the
Duke and Duchess of Dorset, for Mrs. Woffington's
benefit — when All for Love was acted to a crowded
audience — after which the benefits, most of them
good ones, continued without intermission till the
middle of May, when the theatre closed — and Mrs.
Woffington returned to London.
As Victor and Hitchcock both speak of the thea-
tres in the plural number as being in the possession
of Sheridan, there must have been some particular
reason for not acting in Aungier Street, instead of
making a temporary repair of Smock Alley.
Sheridan let the theatre for Q years to Victor and
Sowdon for £5 each acting night — and upon con-
dition of their advancing him £2000 upon mortgage
of the wardrobe, &c., then valued at £4000.
Digitized by VjOOQ IC
1754-1755. 393
When the sammer approached^ Sowdon went oflF
for London with a view to engage Barry for the fol-
lowing season— and left Victor to repair the theatre
from the injories it had lately received, and to add
what improvements and decorations he might think
necessary. (Victor.)
From Victor's 84th letter it appears that Love
was Manager of the Company at Limerick this sum-
mer — Love had been disappointed of 4 actors —
Victor by his desire sent him Layfield, Cunningham ,
Elrington and C. — he speaks unfavourably of them
ally allowing however that Cunningham had some
comic humour.
1754-1755.
Sowdon oflPerred Barry £800 salary for himself
and £300 for Miss Nossiter— he was contented with
his own sum, but insisted on £500 for her, which
Victor prevailed on Sowdon to consent to — being
fiilly convinced, that they could stand no chance of
success, without such an actor as Barry to succeed
Sheridan.
Digitized by VjOOQ IC
394 1754^17.j5,
Sowdon, by Victor's desire, engaged Mrs. Gregory
to play the first parts with Barry — her salary was
£300—. she had acted at C. G. the preceding season
— and Victor was sensible of her merit, as he had
been particularly desired to hear her rehearse, and
give his opinion of her, before she went on the stage.
(Victor.)
Victor in a letter to the Duke of Dorset in Sep.
says — << when I waited on Mrs. Woffington to take
<< my leave at her setting out for London — I told
** her I thought it for her interest as well as ours, that
^< she should be engaged the next winter there — she
<< was greatly disappointed at not receiving proposals
« from me — at which I told her, she would find
<< Sowdon in London, and if it was her desire to re-
** turn, whatever terms they agreed on, should have
<< my hearty concurrence —they met on that occasion
« — but as she expected her former salary of £800,
<< he very wisely got rid of the subject as fast as he
<' could — no man has a higher sense of her merit
** than I have, yet that great salary cannot be given,
'< even to her the fourth season, because novelty is
<< the very spirit and life of all public entertainments
«< — we have accordingly engaged Barry, Miss Nos-
'< siter, and Mrs. Gregory, with three others of the
<< middling sort, and two capital dancers — these are
<< all our importation this season."
The theatre opened Oct. 7 with the Suspicious
Husband. Ranger = King : Strictland = Sowdon:
Frankly = Dexter : Bellamy = Heaphy : Clarinda =:
Miss Kennedy : (from C. G.) Jacintha = Mr8. Cow-
per: (from D. L.) Mrs. Strictland = Miss Danvers.
(IIitch4X)ck.)
Digitized by VjOOQ IC
1754-1735. 395
The new managers were told by their friends that
Mahomet would be called for at the beginning of the
season, and that the demand would be so universal
that they would be obliged to comply with it — Victor
was inclined to exert the privileges of a manager,
and to oppose all measures that might cause dissen-
sions in the theatre, but Sowdon, who as an actor
was more exposed to malice and resentment, offered
reasons for a contrary behaviour — however they con-
sulted together, and settled what they would do, if
that misfortune should happen.
They went on quietly for 6 weeks, but one night
when Sowdon advanced to give out the play, about
20 voices in the pit called for Mahomet — upon the
demand being repeated, he begged the gentlemen
would give him leave to retire for a few minutes, to
which they consented — he then came on again and
said, " Gentlemen, I am to ask if it is the unanimous
^* request of the audience that Mahomet should be
" performed,'* to which the same 20 voices cried ay
ay, and as there was not a negative the ayes had it
—He then told them that as Mrs. Woffington, Sheri*
dan, and Digges had left the theatre, the three capi-
tal parts were to be studied, and he begged their
patience for 14 days, when the Tragedy should be
performed.
When the play was represented, instead of the
crowded audience that had been universally expected,
the house was not half full— and after the party who
called for Mahomet were gratified in having their
fietvourite speech spoken a second time, the rest of
the Tragedy went off as flatly as possible — this the
party attributed to the play being bltdly acted, and
Digitized by VjOOQ IC
396 1754-1753.
Bent deputies to the managers to desire that Barry
and Mrs. Gregory might act Zaphna and Palmira —
to this Victor strongly objected, as Barry was en-
gaged in studying two characters of consequence,
which were sure to turn out to the advantage of his
employers— this appeared so reasonable to those who
considered the great salaries the managers were
bound to pay to Barry and Mrs. Gregoiy, that after
many debates it ended in their desiring that Ma*
homet might be given out once more — this Victor
complied with— and as he expected there came 8 or
10 of the party into the pit just about 6 o'Clock, and
finding very few persons there besides themselves,
they soon consented to be dismissed. ( Victor.)
Thus this famous a£faur ended quietly— the new
managers acted very adroitly — and the tragical con-
sequences, which Sheridan had anticipated from the
repetition of a speech, proved <* Chimseras all."
Lacy from D. L. paid Ireland a second visit, and
came out in Lear — Love made his 1st app. in Fal-
staff, in which he succeeded remarkably well — he
acted a variety of other characters with considerable
reputation.
Mrs. Gregory's 1st app. was in Hermione, (D-M.)
a character which she sustained with great merit, and
in which she received much applause.
Barry came out in Othello, and was received with
that warmth of applause to which he was entitled.
Miss Nossiter made her 1st app. in Juliet Dec. 1st
— Romeo = Barry : Mercutio = King.
Hitchcock says — ** the town seemed very well satis-
<< fied with the company — - Barry generally drew
** crowded houses — I am in possession of the amount
Digitized by VjOOQ IC
1754-1755.
397
" of 26 of Barry's nights, which I shall here present,
<* only premising, that when they commenced, Barry's
<' novelty was in some measure abated.
« 1755.
Irish Mmtey.
« Jan. 1st. Essex
...£51 10 S
<' Sd. Distressed Mother ...
... 54 3 4
« 8th. Orphan ...
... 77 11 4
« 10th. Ditto ...
... 56 18 7
«* 15th. Venice Preserved
... 66 1 8
« 17th. Macbeth
... 126 10 8
" SOth. Othello
... 86 4 8
" 92d, Jane Shore
... 76 2 1
*' 2dd. Romeo
... 72 8 5
«<34th. Macbeth
... 104 2 2
« 27th. Essex ...
... 96 18 1
" 29th. Hamlet
... 43 9 11
"Slst. King John
... 78 0 0
" Feb. Sd. Oroonoko
... 75 17 9
** 5th. Macbeth
... 63 12 11
** 11th. Essex ...
... 72 7 4
*« 14th. Theodositts
... 51 4 5
<* 17th. Siege of Damascus
... 87 0 1
*« 19th. Oroonoko
... 45 4 7
** 2l8t. Romeo
... 73 12 3
«« 24th. Philoclea
... 95 12 1
<'26th. Si^e of Damascus
... 65 1 1
«* 28th. Henry 5th
... ^ 18 10
** March 5th. Philoclea ...
... 53 10 0
** 10th. Theodosius
... 42 8 3
'« 12th. Othello...
... 58 a 5
** The amount of the 26 nights
£1813 15 2"
Digitized by VjOOQ IC
398 1734-1755.
It appears from this statement that Barry's Mac-
beth brought more mouey to the theatre, than the
characters for which he was better suited — bis
other parts were probably Essex — Orestes— Castalio
— Pierre — Hamlet — Faulconbridge — Oroonoko—
Varanes— Phocyas — Henry 5th — and Pyrocles in
Philoclea ^Barry no doubt acted Alexander in the
course of the season — as Victor says» that when Ma-
homet was brought out, Barry was studying Alexan-
der and Lear — Wilkinson in 1757 imitated Barry in
Alexander — his imitation was universally known —
which could not have been the case, if Barry had not
played the part in this season.
Victor, sensible of the danger of the engagement
with -Barry, had thought of a saving expedient —
which was that Barry should be obliged to perform
60 nights in the course of the season — this was so
reasonable that it was readily agreed to — the' he
was particularly assiduous and performed constantly
3 nights a week, yet when the theatre closed, 9 of the
60 were wanting, and consequently the managers
were entitled to deduct from the £800 a proportional
sum. ( Victor.)
March 14. Mourning Bride. Osmyn = Barry,
1st time : King = Sowdon : Gonzalez = Layfield :
Almeria = Miss Nossiter, 1st time : Zara == Mrs.
Gregory, 1st time.
May 15. Goodfellow's bt. Twelfth Night, revived.
Malvolio = Love : Sir Andrew Aguecheek = King:
Sir Toby Belch = I. Sparks : Orsino = Ricard : Clown
= Cunningham : Sebastian = Stayley : Antonio =
Goodfellow : Viola = Mrs. Cowper : Olivia = Miss
Kennedy: Maria=: Mrs. Kennedy. {Hitchcock.)
Digitized by VjOOQ IC
1754-1755. 399
Barry acted King Lear in May — Victor, by his
desire, gave him (m his 91st letter) his opinion of the
performance — << I need not repeat what I have so
'< often asserted — that you have powers for the cha-
<< racter of Lear, and the audience last night con-
'< firmed that opinion by uncommon and deserved
" applause — you were happy in most of the shining
" parts of the character — your defects are only owing
** to your want of time and attention — you did little
'^ more in the first scene than look the character
" well — a more firm and nervous tone of voice is
'* wanting to support the dignity of Lear, in those
" little, yet important passages — the angry part
<' with Kent was well executed — so was the scene
'< which ends with the curse, but it will be more com-
** plete the next time that you speak it we shall
** pass on to the mad scenes, where Garrick is indeed
*^ inimitablef from his peculiar command of the
** muscles, his spirit^ and well settled business — with
^' you there was too great a languor, which seemed,
** (as it really was) as if for want of practice, you
<< had not sufficiently digested the business — and in
** the capital scene, where Lear enters crowned with
<' straw, the transitions were not marked strongly
" enough — a variety of looks and tones are wanting
** to mark every passage of that fine scene — it must
*< also be assisted by a vague, wild, unsettled eye,
<< which you wanted, and must practice — the Couch
" scene, the recovery of your senses and in particular
** the transports of Lear at the restoration, were ex-
** tremely well executed."
Barry at his bt. at C. G. March 25 1754 brought
out the Sheep-shearings or Florizel and Perdita —
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400 1765-1756.
he doubtless brought it out again at Dublin in this
season, as it is printed with the following cast— -Au«
tolicus = King : Florizel = Barry : Polixenes = Love :
Caniillo = Stayley : Antigonus (disguised as Alcon)
= Heaphy : Clown = Cunningham : Perdita == M iss
Nossiter.
Hitchcock tells us that the theatre closed on the
9th of June much to the satisfaction of the managers
— but Victor himself says, upon balancing our ac-
counts, we found ourselves a very little more than
saved from mischief.
Barry and Miss Nossiter returned to London.
1755.1756.
Victor and Sowdon having determined not to give
such large salaries their second season, to avoid
that error fell into a greater, by engaging Mossop
to perform with them on shares — £40 were to be
deducted every night for the expenses, and the sur-
plus was to be divided into 3 equal parts, of which
Mossop was to have one«-but the managers did not
stipulate that he should be obliged to act a certain
Digitized by VjOOQ IC
1755.1756, 401
number of nights — Mossopi finding it would be
equally to his profit, and more to his reputation to
play but seldom — as in that case he was sure of
playing to a full house — acted but 24 times — the
managers were obliged to keep the theatre open 110
nights — and tho' the houses were very good when
Mossop and Mrs. Gregory acted, yet the profits ac^
cruing to the managers from thence, were not more
than adequate to defray the losses of the failing audi-
ences.
Mrs. Gregory, who was engaged at the advanced
salary of £400, and almost solely for the purpose of
acting with Mossop, (she being studied in few parts
in Comedy) was by his acting so seldom, of much
less service to the theatre than she might have been
-—while Mossop's gains (including benefits) amount*
ed to near £90J. (Victor,)
As the managers' reliance was chiefly on Mossop
and Mrs. Gregory, care was taken to bring them
properly forward — Mossop came out in his favourite
characster of of Zanga— after which he played Rich-
ard— Pierre — Horatio, &c.
Barbarossa was performed for the first time in
Dublin Feb. 2d— Mossop gave up the part of Barba-
rossa in which he had done himself so much credit
at D. L., for Achmet, which was not suited to his
abilities.
Coriolanus was revived — this has always been
esteemed as one of Mossop's best parts — the stern-
ness of the character was admirably suited to his
powers — he often wanted variety, but never force-*
his last act was uncommonly fine.
Mrs. Gregory added much to her reputation in
VOL. Z D D
Digitized by VjOOQ IC
402 1755-1756.
Volumnia and especially in Zaphira, that being an
original character in Ireland.
Several new performers were brought forward —
Stamper appeared in the Miser which be sapported
with great justice and nature --he was well received
likewise in Scrub, Foresight, and many parts in that
line Wilkinson met with Stamper at Edinburgh
in 1765 — he had been a great favourite, but was
then worn out — he had ruined himself by morning
drinking.
A young gentleman of the name of Kirkpatrick
played Romeo, Allamont, Essex, Sec with some
success Mrs. Glen from C. G. acted Juliet.
A material advantage was likewise derived from
musical pieces -^ Miss Brent, who afterwards drew
such extraordinary houses at C. G., played Polly for
the first time. ("Hitchcock.)
Victor says — << Brooke's Jack the Giant Qaeller
<< was brought forward again, but with no success —
<< his T. of Injured Honour, in which Mossop and
<< Mrs. Gregory acted the Earl and Countess of
<< Westmoreland, made ample amends — the play was
<* well received and admired by the best judges/'
This play is printed in Brooke's works as the Earl
of Westmoreland, and it seems from the General
Advertiser to have come out under that title at
Dublin May 13 1745— (jB. ilf.)— it is foolishly print-
ed without any performers to the characters — several
years before this play begins, Osbert King of North-
umberland had come to Westmoreland's castle on a
visit, and finding him from home had ravished hn
wife, Rowena — Westmoreland took up arms against
Osbert, and was supposed to have been killed in a
Digitized by VjOOQ IC
1755-1756. 403
batde— |i6 had racavered from his woondB, and had
become a di&ktinguished leader among the Danes —
Edwin the son of Westmoreland and Rowena, had
been consigned to the care of Osric, Earl of Man-
chester—at the opening of the play Osric, with Ed-
win, arrives at the suburbs of York, where the scene
lies — his object is to bring Rowena away in safety
from the religious house in which she had placed
herself— the Danes, with Westmoreland, had landed
in full force — Westmoreland has a private interview
with Rowena— on his return to the Danish Camp he
is tidcen pridoq^r by Osbert's troops -— he acknow-
ledges who he .is, and challenges Osbert to single
combat — Osbert accepts the challenge, and is killed
— but before his death he receives ^V'estmoreland^s
forgiveness — some of the Danes, without their king's
knowledge, burn the nunnery with Rowena and the
rest of the nuns — it is agreed to decide the cqntest
between the Danps and the Northumbrians on th^se
conditions — if Westmoreland should kill the cham-
pion of the latter, the Danes are to dispose of the
kingdom of Northumberland — ^if he should be killed,
they are to return home — Westmoreland, having
heard of the death of Rowena, and suspecting the
Danes of treachery, suffers himself to be killed — the
opposite champion proves to be his son Edwin— the
catastrophe is not a pleasing one— for tho' Edwin is
fighting in a good cause, and does not know who
his opponent is, till it is too late — yet there is some-
thing horrid in a son killing his father under any cir-
cumstances — Westmoreland, to gratify his private
revenge, had twice involved his country in war-- in
other respects he is a noble character — Rapin
D D 2
Digitized by VjOOQ IC
404 1753-1756.
mentions Osbert as one of the kings of Northamber-
land, but the entire play seems to be fiction — this
T., on the whole, is a good one — some parts of it
do Brooke great credit
In the Spring, Woodward having obtained leave
from the managers of D. L. to perform in Dablin,
concluded an agreement with Victor and Sowdon
for acting 8 nights on shares — he was to have a 9th
night to himself on paying the charges — he made his
Ist app. May 17th in Marplot and Capt. Flash — ^he
afterwards acted Bobadill — Scrub — ^the Apprentice
— Atall — Copper Captain — and Petmchio — this
agreement proved advantageous to all parties, and
Woodward cleared about £^00.
Thus closed the management of Victor and Sow-
don, who, tho' conversant in the business of a thea«
tre, were glad at the conclusion of their term, to ex-
tricate themselves from what they had undertaken,
with credit and without loss. ( Victor and Hitch"
cock.)
Digitized by VjOOQ IC
1766-1767. 405
1756-1757.
When the rage of party was abated, people began
to entertain milder sentiments of Sheridan, and to
admit that his treatment was too severe — and that
tho' he had committed a great error, yet the punish-
ment inflicted was more than adequate to the fault.
Tho' Sheridan had left Ireland with due resent-
ment for the infamous treatment he had met with,
yet as all passions subside in time, he was willing to
return to his native country, when he found a
change had taken place in the public opinion.
Victor was glad to resume his former station of
treasurer and deputy manager — and Sowdon seems
to have continued as an actor as heretofore.
On Sheridan's return to Dublin, he employed a
person to paint three or four sets of scenes, which
were much wanted — and made several expensive
additions to the wardrobe, which two years' use had
not a little impaired. ( Victor.)
The theatre opened October 18th with the Busy
Body. Marplot = King : who was by this time be-
come a great favourite with the public— he had acted
Ranger — Lovegold — Abel Drugger — Duretete —
Scrub — Lord Lace — Bayes — Osrick — Tattle — Fine
Gentleman — Tom, &c., with great and deserved
applause. (Hitchcock.)
When the time drew near for Sheridan's expected
appearance, it began to be rumoured that an Apology
would be expected from him on the Stage, before
Digitized by VjOOQ IC
406 1766-1767.
he would be allowed to perform— and tho' no one
could assign any cause for it, and tho' in sense and
reason something more than Apology, Bedress and
Satisfaction^ ought to have been made to him by
those persons (who were all known) that did the
mischief to the theatre, yet the words Sheridan and
Apology were always echoed together.
The 1st act of the Busy Body was performed
with the utmost quietness, but in the second, a few
young men in the pit called out Sheridan ! Apology I
which was seconded by the same number in both
the galleries — ^Dexter, who acted Sir George Airy,
and was remarkable for his modest behaviour, was
on the stage alone— he bowed and retired, and went
to consult Victor — Victor desired him to go on ag£iin,
and say that Sheridan was confined to his room with
a very bad cold» and that he did not doubt but that
Sheridan when he was recovered would give them
all the satisfaction they desired— this however would
not content them — they had collected spirits to
make a beginning, and had gradually excited a con-
siderable uproar— they insisted on Dexter's going to
Sheridan, whose apartments they knew were con-
tiguous to the theatre, and on his bringing a positive
promise from him — Victor and Dexter accordingly
went tb Sheridan, who was of course much hurt at
this uiirba^bnable demand, however he was prevailed
on to comply— and Dexter assured the audience
that when Sheridan was recovered, he would make
an Apology on the Stage, and that public notice of
it should be given in the bills — this was received
with universal applause.
Victor recommended Sheridan, if the audience
Digitized by VjOOQ IC
1766-1767. 407
would have an apology, to make them pay for it, and
to give notice of it in the bills before some
Comedy that would not otherwise pay charges— he
would naturally be supposed to be too much affected,
on that solemn occasion, to perform any character
on the same night— to this Sheridan assented— and
Oct ^th was fixed on for him to undergo this severe
and most unmerited mortification. {Victor and
Hitchcock.^
Soon after the doors were opened, every part of
the house was crowded to behold the unmanly tri-
lunph of despotism over reason and justice — such a
spectacle perhaps was never presented to the public
before, nor since — a manager, who deserved a
statue to perpetuate the memory of the good he had
done, was obliged to appear like a criminal, before
that tribunal which he had so often furnished with
the most rational entertainment — but he was equal
to this arduous task— when tbe curtain drew up, he
advanced to the centre of the stage, with a paper in
his hand, fearing in that unavoidable confusion to
trust entirely to his memory —it was the opinion of
some of the best judges, that no man within their
observation ever appeared before the public with so
much address, or spoke to the passions with such
propriety— tears gushed from tbe eyes of several of
his male auditors — his apology was followed by
the loudest acclamation — and after he had begun to
retire, he advanced again, and with faltering and
broken accents spoke as follows, << Your goodness
«< to me at this important crisis has so deeply affected
" me, that I want powers to express myself— my
<< future actions shall show my gratitude'' ^thus
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408 1756-1757,
ended this dUgraceful affair— every liberal mind
must be shocked at the degeneracy of the times,
which could redace a man of Sheridan's abilities and
sentiments, to the humiliating situation of apolo-
gizing to the destroyers of his property, for having
ruined his fortune and having demolished the labours
of so many years.
Some few nights after, Sheridan appeared in
Hamlet to a crowded audience, and was received
with the utmost applause — he afterwards drew seve-
ral good houses to his Richard, Tamerlane, Dumont,
Horatio, &c.
Sheridan having in vain endeavoured to secure
Barry, engaged Lee, an actor of reputation, whom
he had never seen perform, at £400 for the season —
tho* he did not answer the manager's expectations,
yet he supported a line of first characters with
tolerable reputation — his 1st app. was in Lear, he
then performed Hastings— lago — Hotspur, Sec
Sheridan had engaged two celebrated Dancers, to
whom he was to pay £1000— this proved a bad bar-
gain to him— and indeed his great error was in en-
gaging performers at larger salaries than the theatre
could afford.
Several new performers of merit were brought
out — among whom were Miss G. and Miss M, Phi-
lips, Mr. Glover and Miss Wells— Mrs. Gr^ory
had returned to C. G.
Fair Penitent. Horatio = Sheridan : Lothario =
Lee : Sciolto=: Heaphy : Altamont = Dexter : La-
vinia=Miss Grace Philips : Calista = Miss M.
Philips.
Conscious Lovers. Bevil Jun.=: Sheridan : Myr-
Digitized by VjOOQ IC
n56.1T57,
409
te = Lee : Tom = King : Cimberton = Glover :
land = Heaphy: Pbillis = Miss G. Philips: Indiana
= Miss M« Philips.
Mr. and Mrs. Wilder fronfi D. L. made their 1st
app. Dec. 17th in Macheath and Polly — they brought
the Beggar's Opera once more into fashion, and
occasioned it to be performed once a week daring
the season, upwards of 20 nights, besides benefits,
to crowded houses — their success in these charac-
ters induced the manager to get up the Oracle,
which was played with singular applause — Oberon =
Wilder: Cynthia = Mrs. Wilder.
The Tempest was revived with great care and
expense, and brought 5 or 6 good houses— Sheri-
dan and King were excellent in Prospero and Trin-
cnlo— Coriolanus and Barbarossa were acted, but
did not do much, (Hitchcock.)
Hitchcock says — ** I shall present my readers with
*^ the receipts of 21 of Sheridan's nights — they may
** convey an idea of the success of the theatre, and
^* contrasted with those of Barry's before mentioned,
'< will show what estimation Sheridan was held in by
" the public.
1758.
<< Jan. 28th. Essex
*^ Slst. Distressed Mother
" Feb. 2d. Venice Preserved
<< 4th. Provoked Husband
«< 6th/ Hamlet
<<9th. Essex ...
«<llth. Ph»dra
« ISth. Merchant of Venice
<< l6th. Comus
Irish
monei/.
...£96
0
9
... 90
8
1
.. 88
1
6
... 56 11
0
... 118
4
11
... 69
0
2
... 99
4
8
... 79
7
1
... 41
8
9
Digitized by VjOOQ IC
10 1756-1767.
" 18tb. Stratagem
• • •
... 79 13 7
« 20tb. Macbeth
• • •
... 98 1 11
«27th. Richard 3d.
• • •
... 110 19 9
» March Sd. Tancred
• • •
... 87 3 1
**4th. Merchant of Venice
... 54 19 9
** 6th. Coriolanus
• ••
... 58 7 10
<'9th. Phsedra
• ••
... 44 5 1
'< 10th. Douglas
• • •
... 84 0 3
** 11th. Richard
• • •
... 100 14 7
« 13th. Romeo
• • •
... 57 8 4
« 15th. Tancted
• • •
... 43 0 «
" I6th. Douglas
• • •
nights
... 73 19 10
« Total 21
... £1631 1 11
« On an average of £77 17 2 per night.**
Hitchcock does not specify Sheridan's characters
— he probably acted Essex — Orestes — Pierre —
Lord Townly — Hamlet — Theseus in Phaedra — Shy-
lock — Comus — Macbeth — Coriolanus and Romeo-
he probably gave up his original part of Siffiredi^ and
played Tancred — as he is said to have acted Arch^,
it was probably at this time.
Sheridan having been di8ap{>ointed in the expected
abilities of some young actress^ was glad to catch at
every auxiliary, and engaged Foote about April or
May — (Victor) — this proved advantageous to each
party — Foote acted Sir Charles Buck in the English-
man returned from Paris — Bayes — Hartop in
Knights — Fondlewife, &c.
Douglas. Nerval = Sheridan : Stranger = Lee :
Glenalvon = Stayley : Lord Randdph = Dexter :
Lady Randolph = Mrs. . Kennedy : who though a
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1756-1757. 411
good actress in Comedy, had few pretensions to aot
Tragedy — this play was performed two nights and
then laid aside — Hitchcock speaks of this Tragedy
as having been successful in other theatres — which
at this time was by no means the case — except per-
haps at Edinburgh — this is not the only instance in
which he anticipates the future and speaks of it as
pastor present.
At the beginning of the season, among other regu-
iations adopted by the manager, he determined if
possible, to put an end to the numberless complaints
of the outrages committed in the upper gallery, by
converting it into boxes, and raising the price to
Ss. and 6d. — this answered the end proposed, but
proved highly detrimental to his interest — for as
most things are governed by fashion, so novelty and
whim drew the ladies, and consequently the gentle-
men, in such numbers to the upper boxes, that those
below were in great measure deserted, and the pit
thinned of course — however by this regulation, peace
and order were suddenly restored. (Hitchcock.)
Ab soon as Sheridan had resolved to resume the
management of the theatre in 17^6, before he left
London he waited on Barry with a gentleman who
was a common friend to both, and made him over-
tures of all kinds to engage him for the ensuing sea-
son — telling him at the same time that he should
not continue on the stage above a year or two at
most — and that it should be Barry's own fault, if his
station was not as eligible as he could wish — Sheri-
dan proposed to engage him at a certain salary, or
to admit him to a share of the profits — and after-
Digitized by VjOOQ IC
412 1756-1T:>7.
wank let the theatre to him — before t^y parted,
Barry seemed inclined to come into dome one of
these proposals — he promised to consider the point,
and in a few days to call on Sheridan, and let him
know the result of his thoughts — but he neither
called, nor ever afterwards spoke to him on the sub-
ject.
About March I757 the report began to be credited
that Barr/s agents had actually agreed with the Fh>-
prietors of the Music Hall in Crow Street for their
property there, in order to build a new theatre —
Sheridan and Victor, after frequent consultations on
the subject, concluded that Victor should go to Lon-
don, and endeavour to dissuade Barry from the rash
enterprize of building a new house, since he might
have the united theatres of Aungier Street and
Smock Alley on advantageous terms, if he had any
objection to a partnership with Sheridan.
When Victor called on Barry, Barry soon con-
vinced him that this offer came too late — it must
however be remembered that Sheridan had in person
made similar proposals to Barry before he left Lon-
don— this Sheridan afl;erward8 stated in his *^ Appeal
<* to the Public,'' and as he was never contradicted,
Victor argues with good reason, that what Sheridan
said must be admitted as fact — and that the theatre
in Crow Street was erected, afl;er mature deliberation
and aft;er Barry had preferred his own scheme to
Sheridan's proposals.
Victor's business with Bany being soon over, he
set about executing the other part of his commission,
which was to engage Mrs. Gr^ory, and Mrs. Bland,
Digitized by VjOOQ IC
1756-1757. 413
now become Mrs. Hamilton— after a negotiation of
7 weeks he engaged Mrs. Gregory at £500 and
Mrs. Hamilton at £400.
As Mrs. Gregory and Victor had a mutual confi-
dence in each other, their agreement was only made
in the shape of a memorandum — which they both
signed — but as Mrs. Hamilton had a husband who
was a stranger to Victor, he thought it prudent to
call in an attorney, and have an article drawn in
form with a penalty of £500. (Victor.)
Rich, finding Mrs. Hamilton was engaged, insisted
. on her breaking her article, and promised to indem-
nify her — a law suit ensued, and after a delay of
three years. Rich was obliged to pay the £500 with
costs. — {Victor and Hitchcock.) See Victor's 103d
letter.
Barry, Macklin and Victor left London about the
same time, and landed in Ireland from the same
packet boat the latter end of June — and soon after*
wards the Music Hall in Crow Street, and some ad-
jacent buildings were levelled to the ground, to lay
the foundation of the new theatre. ( Victor.)
Barry remained in Dublin till Sep., when having
obtained a sufficient number of subscribers to the
new theatre, and arranged every matter relative to
his great design, he returned to London — Hitehcock
says that Macklin accompanied him — but Cooke
tells us that Macklin stayed in Dublin to superintend
the concerns of the theatre, in which, it seems^
Macklin was originally intended to have been a part-
ner with Barry.
Among Macklin's oddities, he was always a great
projector J and, like most people who take up this cha-
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414 1756-1757.
racter» firom a certain restleasaess of temper, hte
projects were commooly unsaccesafiiU both to him-
self and friends — he was generally thought to have
been at this time Barry's principal adviser-^e .en«
tered warmly into the cause, and puUisbed a pamph-
let against Sheridan, in the writing of which he was
probably as much instigated by enmity to Sheridan
as by friendship to Barry ^Kirkman gives a long
extract, as usual, for the sake of swelling his book —
from this it appears, that the pamphlet was written
in a coarse style, and with no small quantity of per-
sonal invective against Sheridan.
Previously to the indentures being drawn up be-
tween Barry and Macklin as joint managers of the new
theatre, Macklin gave in a list of parts, and a plan
of managerial arrangement, as it respected his own
power, which roused Barry to pause on such an agree-
ment — besides Shylock and the comic parts which
he usually acted, he was for articling to play Hamlet,
Richard, Macbeth, &c* occasUmaUy -— seeing Barry
rather surprised at this last proposal, — << Not, my
«^ dear Spranger (says he) that I want to take your
<< parts from you, but by way of giving the tOMni
<< variety — Ton shall play Macbeth one night and I
<* another, and so on with the rest of the tragic cha-
<< racters — thus we will throw lights upon one
'' another's performance, and give a bone to the
" critics."
Barry remonstrated in vain against this absurd
project, by telling him, in his soft conciliating man-
ner, that the very reverse of what he had predicted
must happen, as, in the proportion of one of them
being a favourite in any of those characters, tbe
Digitized by VjOOQ IC
1T66-1T5T. 415
Other must feel the degradation, and of course the
receipts of the house must suffer— that he, Macklin,
had a large circle of comic parts to range in, all at
his own disposal, which he could vary as he liked —
which would be sufficient both for fame and fortune,
and not risk the taking up of new business at his time
oflife.
Mackltn caught fire at the word risk and, perhaps,
Hme of li/€f and told him, it was more a certainty
than he and Garrick were aware of— that he had
long thought of these parts, that he had long studied
them — and tho' he had never before then had a
power to demand them, he would not now lose the
opportunity ! — << and by Heaven, Sir, let me tell you,
'' I think I shall be able to show the town something
" they never saw before."
To such reasoning nothing could be applied, but
by breaking off the engagement, which accordingly
was dissolved — (Cooke) — and Barry turned his
thoughts towards Woodward— see D. L. 1757.I758.
Digitized by VjOOQ IC
416 17&T.175a
1757-1758.
The theatre opened Oct lOdi irith the Fair
Quaker of Deal — on the S4th Sheridan acted Ham-
let to a very good house — some few days after, Mrs.
Gr^ory, now become Mrs. Fitzheury, made her
1st app. in Calista, which was one of her best parts,
and was most cordially received (^fifcAcoci)— pre-
viously to this, Sheridan had never seen her on the
stage but once, and that in a Comedy part, whidi
made no favourable impression — but it was not long
before he was a convert to her abilities in Tragedy—
the manager and actress were well paired. ( Victor.)
Dec 7- Recruiting Officer. Capt. Plumes Ry-
der, his 1st app. on that stage : Capt Brazen =:
Foote: Kite =: Isaac Sparks: Sylvia = Miss Kennedy,
who soon after retired from the stage — ^Ryder was
well received, and became afterwards a particular
favourite with the public. ( Wilkinsan.)
Wilkinson appeared some few days after — the bOl
ran thus— after the play Mr. Foote will give Tea-
Mr. Puzzle (the Instructor) = Mr. Foote— First Pu-
pil by a Toung Gentleman who never appeared on
any Stage before.
When Wilkinson came on he was extremely fright-
ened— which Foote perceiving, good-naturedly took
him by the hand, and led him forward — ^the audience
received him with a burst of applause, which how-
ever could not instantly remove his timidity — Foote,
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lT57.176a 417
seeing Wilkinson was not fit for actioni said to hid
two friends on the stage (who sat like Smith and
Johnson in the Rehearsal) <' this young gentleman is
*' naerely a novice on the stage —he has not been
*^ properly drilled —but come my young friendi walk
<* across the stage, breath yourself and show your
<* figure" — he did so, the walk encouraged him, and
another loud clap of applause succeeded — ^he felt a
glow which seemed to say now or never, ** this is the
<* night, that either makes you or undoes you quite"
— at length he mustered up courage and began his
Imitations with Luke Sparks of C. G. in Capulet —
many of the gentlemen in the boxes knew the Lon-
don performers, and no play in London was so fami-
liar then as Romeo and Juliet — they were univer-
sally struck with the forcible likeness in the speaking,
and the striking resemblance of the features— a pe-
cnliar excellence in Wilkinson's mode of mimickry-^
a gentleman cried out Sparks of London I Sparks
of London I— the applause resounded even to Wil-
kinson's amazement, and the audience were equally
astonished, as they found something where in fact
they expected nothing —the next speech was their
fisiYOurite, Barry, in Alexander, universally known,
and as universally felt — Wilkinson, now vastly elated
and quite at his ease, proceeded to give Barry and
Mrs. Woffington in Macbeth and Lady Macbeth— the
laughter was so incessant that he could not proceed
— ^he was encored.
Mrs. Woffington on hearing Wilkinson was going
with Foote to Ireland had said, ** Take me off, a
«« puppy, if he dare attempt it, by Heaven he will be
<< stoned to death"— here she was mistaken — for on
VOL. X. £ E
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418 1757-1758.
his repeating the imitation, the second applause was
stronger than the first — a sudden thought occurred
to Wilkinson— he felt all hardy— all nerve —all alert —
he advanced a few steps, and repeated 12 or 14 lines
of the Prolc^ne to the Author, which Foote had
spoken that night, and almost every other night be-
fore— he hit off Foote's manner, his voice and oddi-
ties so exactly, that the audience were delighted to
the last degree to see and hear the mimick mimidced
— and it gave Wilkinson a complete victory over
Foote, who was sitting on the stage at the time —
for the suddenness of the action tripped up his auda-
city so much, that with all his eflfrontery he looked
foolish — wishing to appear equally pleased witii the
audience, but not knowing how to play that difficult
part— the satisfaction was universal, and without any
conclusion the curtain was obliged to drop with rei-
terated bursts of applause— they were remarkaUe at
Dublin, when pleased, for continuing to a{^laud till
the curtain fell, often not suffering the play to finish
— ^this was a compliment frequently paid to She-
ridan,
When the Farce was over, Wilkinson had great con-
gratulations paid him seriously and ironically — Foote
affected to be vastly pleased, but in truth it was mere
affectation— he said to Wilkinson it was perfectly
well judged to make free with him, yet he did not
think it very like himself, it was certainly his w^nt
imitation— so differently do we feel for ourselves
when ridicule is pointed at us — the conversation
next day, particularly of Wilkinson's private fiiendsi
was an universal cry of << Foote outdone ! Fdote
<< outdone ! the Pupil the Master I''— Tea was acted
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1757-1758. 419
in r^ular succession for several nights— the Re-
hearsal was repeated, in which Wilkinson performed
the Princess Chloris — ^as he was well dressed, his
serious acting a*]a«-mode Woffington procured him
great applause, tho' in so trifling a part— her being
so well known to all ranks and degrees was of infi-
nite service to him as an Imitator— *after his first
night's performance, Sheridan appointed him a sa-
lary of 3 guineas per week — and Garrick was written
to for his permission to let Wilkinson stay at Dub-
lin till the end of February, which was readily
granted.
Before Jan. expired he acted Cadwallader with
Uie Prologue — and likewise Othello— Iago = King :
Desdemona = Miss G. Philips, afterwards Mrs.
Frances and mother to Mrs. Jordan.
His benefit was Feb. S5th. Jane Shore. Hastings
= Wilkinson : Dumont = Dexter : Jane Shore = Miss
PhUips : Alicia = Mrs. Fitzhenry : with Tom Thumb.
Queen = Wilkinson : Huncamunca = Miss G.
Philips : — Mrs. Fitzhenry as usual gave great
satisfaction — as Wilkinson did to an extravagant
degree in Queen DoUaloUa, as Mrs. Woffington
— the steadiness and earnestness of the Imitation
was at least equal to any modem professor's at-
tempt.
Wilkinson was so elated with the success of his
Imitations, that he had the insolence to propose to
Sheridan to allow him to take him off — which he
said would have a wonderful effect, and bring money
to the theatre — Sheridan was extremely indignant —
Wilkinson would have desired no better fun, as
E £ 2
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4^0 1757-1758.
Sheridan's voice was deep, and as oppositely sharp-
he had likewise a pecoliarity in his manner. *
King had set his heart on well preparing a new
Pantomime, in order to give the manager a lift — it
was advertised for the Thursday, hot was not fit for
)ierformance on the Wednesday — King, who was
always indefatigable in what he undertook, deter-
mined to be at the theatre the whole of Wednesday
night for the sake of keeping the painters, carpenters,
&c. more strictly to their duty-— in order to make the
time pass more pleasantly, he desired Wilkinson and
Mrs. King to be with him in the green-room, which
they agi'eed to, on condition of having something to
eat and drink — things were accordingly provided —
Mrs/ King undertook to dress the mutton chops —
when she hud sprinkled them with pepper and salt,
she placed them on the gridiron close to the fender,
till it was time to put them on the fire — - Wilkinson
complained of cold — the only seat in the green-room
was as usual a bench, which went round the room
and was immoveable— chairs were called for — two
were immediately brought, and Wilkinson undertook
to provide a third for himself— recollecting that Mrs.
Fitzhenry's dressing*apartment was adjoining the
green-room, and that he had seen her in Hermione
in her royal robes sitting in an elbow chair, he went
in the dark and seized the chair by the elbows — but
when he brought it near to the fire-side, by a sud-
den jerk, ofiT flew the bottom, and out flew, over the
gridiron and mutton chops, what Mrs. Fitzhenry had
deposited there -> this for one hour cured all complaints
of cold or hunger — and when the . servants of the
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1757-175a 421
theatre had performed the disagreeable task of pat-
ting the room to rights, eating was out of the
question, but the Trio sat down to an excellent
bowl of punchy and passed a pleasant evening. ( Wtl^
kins on.)
Wilkinson says, that he saw the Emperor of the
Moon acted as a Farce at Dublin in 17^8 — it was
very wretchedly supported as to decorations, scenery,
&c., but King was truly whimsical as Harlequin.
Crow Street Theatre now began to rear its head
— and Sheridan was the more alarmed, as it was
known that Woodward had determined on entering
into partnership with Barry— the public was divided
in opinion — the press teemed with publications from
both parties— each had an appearance of reason,' and
each bad its partisans, who espoused its interests,
with all the warmth that such contests usually in-
spire. (Hitchcock.)
Sheridan's friends argued that Dublin was not suf-
ficient to support two theatres — that at that time it
could barely maintain one — and that if a second
should be set up, the inevitable consequence must
be, that they would ruin one another — th^y reminded
the public of the lamentable condition in which
Sheridan found the stage when firat he undertook to
reform it — and of the indefatigable pains and un-
linoited expense he had been at to adorn and improve
it— they affirmed with truth, that by his learning and
abilities, which his very enemies could not dispute,
he had, after a struggle of many years, shown the
people of Ireland, what they had never seen before,
in their own country, a ujeil regulated theatre — and
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AOSt 1757-1758.
that consequently he was entitled to the sapport of
the public.
Barr/s advocates replied, that it was &r from evi-
dent that Dublin could not support two theatres —
that the public would be gainers by a contest — and
that Barry had engaged so far in his design, that it
would be absolute ruin to him to relinquish it — they
added that when Barry was in Ireland in 1754-1755,
his performance gave such general satisfaction, that
he was encouraged by many of the nobility and gentry
as well as citizens of the greatest eminence, to build
a theatre and settle in Dublin— that he had accepted
the invitation with gratitude — that he had treated
immediately for several pieces of ground, but could
not find any to his purpose 'till about May I757
— &c« {State of the Stage in Ireland printed in
1758.)
Many and various were the schemes for preventing
the new theatre, and some were carried into execu-
tion — the Case of the Proprietors of the united
theatres of Aungier Street and Smock Alley was
printed and delivered to all the Members of Par-
liament, setting forth the great expense they had
been at in building and completing two magni-
ficent theatres, and praying that the number of
theatres might be limited by Parliament as in
London — and that as two were thought sufficient
for that great city, that one might be fixed for
Dublin.
As many of the leading Members of Parliament
were subscribers to the new building in Grow Street,
and many more wellwishers to it, the case of the
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1757-1758. 493
proprietors of the united theatres, remaiQed n^lected
and unpitied.
The manager began very soon to see the vanity of
these attempts, and at last to turn his thoughts
properly to an opposition — he called the company
together in March just before the benefits, and said
it was high time to see who would stand by him— he
made his first application to Mrs. Fitzhenry — he
agreed to give her £500 a year, but seeing her de-
mm*, he offered her £600 — well knowing, that with-
oat her, it would be unsafe for him to article with a
large body of people, many of whom had considerable
salaries, though they were only useful — Mrs. Fitz-
henry gave such a reply to the manager's proposal,
as made him conclude, that she meant to keep her-
self open to offers from the other side — and there-
fore he declared too rashly against entering into
articles with any one — - upon which Dexter and
King went off, and signed with Barry's attorney
directly.
The sudden loss of these two peiformers alarmed
Sheridan ^-> he began too late to alter his resolution,
and signed a general article with all his company —
he determined to engage Digges and Mrs. Ward to
be ready at the opening of the season — . with Theo-
philus Gibber to strengthen the Comedies — he pur-
chased a Pantomime, scenes, machinery, &o« all
complete of the Master of Sadler's Wells — and en*
gaged Maddox the celebrated Wire-dancer for £200,
to act Harlequin and exhibit his usual feats on the
Wire— It seems likewise that Sheridan and Victor
did not despair of Mrs. Fitzhenry, or that they rather
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424 8. A. 1758-1759.
expected to get her, as they knew she was a well-
wisher to their side. ( Victor. )
S. A. 1758.1759.
Sheridan, who had gone to London at the close of
the preceding season, chose to stay there for the
present, and deputed Victor to return to Ireland, and
make as good a stand as he could against the new
theatre.
Victor opened S. A. Oct. 22d, as he was obliged
to do, as Manager of the King's company of Come^
dians.
Soon after his return, he engaged Brown (late of
the Bath Company) who made his 1st app. in the
Copper Captain — and tho' he met with the usual
fate of a stranger, that of bringing very few people
to see his first performance, yet those who were
present, gave him universal applause — his first nigbt
brought no more than £12 — his second £28 — and
his third more — till at last (as Estifania was well
supported by Mrs. KennedyJ it became the only e8«
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8. A. 1758-1759. 4^
tablished Comedy of the season — Woodward, was
thoaght ioferiour to him in that character, and with
all the advantages, which his theatre and company
possessed, he could not keep Rule a Wife and have
a Wife on a par against Brown. ( Victor. J
Brown had an unfortunate propensity to Tragedy
— he attempted Richard at D. L. Feb. 23, 1753 and
was barely permitted to finish the part — and because
Victor would not allow him to play capital tragic
parts, he was much displeased. ( Victor and Wil-
kinson.
Brown was well received in Benedick— Don John
and all parts of that cast— his principal fault was his
making his pauses too long — probably owing to his
having seen the effect produced by Garrick from his
pointed pauses— but then Garrick had a judgment to
direct him to a second, as to the proper time to con-
tinue them — in the Wonder, in the grand scene be-
tween Felix and Yiolante, the pause was near four
minutes * but then Garrick's looks and actions sup-
plied the want of wordst — pauses in general are
* This seems an exaggeration -» 1/lctor would probably baye
been more correct, if he bad said four seconds.
f And how did Garrick speak the Soliloquy last night ? — Ob,
against all rulcy my lord, most nngrammatically I betwixt the Sub-
tantiye and the Adjectiye» which should agree together in number,
case and gender, he made a breach thus — stopping as if the point
wanted settling — and betwixt the nominatiye case, which, your
lordship knows, should goyem the yerb, he suspended his yoice in
the Epilogue a dosen times, three seconds and three fifths by a
Stop-watch, my lord, each time— —admirable grammarian— but in
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426 f. A. 1758-1759.
daDgeroas intervals ; which should only be ventured
on, when the circamstance and situation of the dia-
racter demand them — and then they should not be
continued too long.
Towards the close of November, Victor made
several attempts to engage Mrs. Fitzhenry, who in
that precarious situation of the theatre demanded
security to be given her for the payment of her salary
— Victor was so anxious in the business that he pro-
cured the security she wanted-^but before the bond
was executed, Sheridan wrote a letter in which he
expressed his resentment at Mrs, Fitzhenry's making
such an unprecedented demand — and his doubts of
his being able to be himself in Dublin that season as
he had intended Mrs. Fitzhenry immediately en-
gaged with Barry and Woodward*
This Victor thinks was the fatal blow to S. A.—
and that if Mrs. Fitzhenry had been engaged and
Sheridan had returned, with the assistance of Digges
and Mrs. Ward in the same Tragedy (for instance
the Distressed Mother) they would have been a
force too strong for Barry — more especially, as after
all the pains he had taken to procure a good actress
in Tragedy, he had only been able to get Mrs. Dan-
cer, who at this time was inferiour to what she after-
wards proved — nor was Woodward much better sup-
ported in Comedy.
sospendiiig'Idgyoice — wns the sense snspended likewise ? did no
expression of attitude or conntenanoe fill np tbe chasm? — Wu
the eye silent ?— did you narrowly look ?■ I looked enly at Ae
stop- watdi my lord Eircellent observer f f Sterne,)
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8. A. 1768.n5». 427
About 2 or 3 weeks after the theatre was opened,
Digges and Mrs. Ward arrived— they made their first
app. in Hastings and Jane Shore, and were well re-
ceived — as they were the original performers of
Norval and Lady Randolph at Edinburgh, where
Douglas first appeared, it was judged that this Tra-
gedy was the most likely to be acted with a prospect
of success — it was accordingly advertised — this pro-
duced an advertisement from Crow Street to inform
the public that Barry and Mrs. Fitzhenry would
speedily appear in Norval and Lady Randolph — but
they were too poor at S. A. to be frightened, and
Douglas was acted 9 times to the best audiences they
had that season — which was no small triumph on
their side — more especially as the play never ap-
peared at the new theatre agreeably to promise — ^but
this was only a temporary relief, for the ship which
was bringing T. Gibber, Maddox, &c. to Ireland was
lost, and all the passengers drowned — the loss of
Maddox was severe, as he was not only to have been
the Harlequin, but had the Music with the business
and plot of the Pantomime in his custody — ^the Car*
penter from Sadler's Wells, with the scenes, machin-
ery, &c., arrived safe in another ship •— from him
Victor collected the plot and business of the scenes
as well as he could — ^he got a new Harlequin, adapt-
ed Music to the piece, and in 3 weeks produced the
Pantomime, which was received with great ap-
plause.
Victor had only one hope remaining — the mana-
gers at D. L. had given Miss Macklin leave to come
to S. A. the latter end of April — her father was to
have accompanied her — they were to have acted a
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428 s. A. 1758-1759.
dozen nights — and be was to have exhibited some
new piece of his writing with this his dernier
resort Victor acquainted his desponding company —
he told them he would bring on their benefits at the
end of Jan. in the most advantageous season for
them— and as the benefits would carry them through
February and March, there would be a clear stage
for Mr. and Miss Macklin when they arrived.
When the benefit plays began to be advertised (as
many of the company had great interest in the City»
which was well known) the friends of the new ma-
nagers thought of a very happy expedient to defend
them against the injury they must have unavoidably
sustained — and that was to apply to some leading
Ladies of Quality to fix on their nights, bespeak
their plays and make an interest for all parts of the
house, particularly by Pit and Gallery tickets among
their tradesmen, as for a distinct benefit — this was
done — by which means it was common to find some
woman of Quality making an interest for her play at
Crow Street, with the same zeal that the Player at
S. A. was exerting himself to support his wife and
children — it was customary on these occasions for
the great Lady to go early into the Box-room to re-
ceive her company — a friend of Victor was present
one evening, when a Lady, who had sent out tickets
for the pit and gallery with threatenings to her trades-
men, if they did not dispose of them, was ready to
faint at finding a thin pit and thin galleries — after
smelling bottles had been applied, she cryed out
** she was ruined and undone I she should never be
<< able to look dear Mr« Barry in the face any more,
'^ after such a shocking disappointment"— the box-
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s. A. 1768-1769. 4€9
keeper endeavoured to console her by saying ** I beg
*' your Ladyship will not be disheartened — indeed
" your Ladyship's pit will mend, and your Lady*
** ship's galleries too will certainly mend before the
" play begins" — the Lady however remained incon-
solable, but protested she would be revenged by pay-
ing off --no -by turning off all her saucy tradesmen
the next morning.
The theatres in London at this time had only a
lobby before the boxes — those at Dublin had a com-
modious box-room (particularly Aungier Street)
where the company assembled after the play was
over, and conversed till their carriages were called.
But in spite of this manoeuvring at C. S. the bene-
its at S. A. were in general good — as from the very
ill success of the theatre, it was impossible for Vic-
tor to pay the salaries regularly, he took on these
occasions but £16 in cash from each performer to
pay contingencies, and allowed £94 for arrears,
which together made £40, the usual charge for a
benefit — at the beginning of March, Victor renewed
his correspondence with Macklin, and after the ex-
change of 52 or 3 letters, was informed by him, that
he had determined not to come to Ireland on account
of his daughter's ill health, which made it dangerous
for her to undertake such a journey and voyage.
This last disappointment compelled Victor to put
Sheridan's orders into execution, which were to dis-
solve the company from acting any longer on his ac-
count, and to close the season — this was done the
20th of April — at the same time, as the whole com-
pany were sufferers by arrears of salary, he offered
them from Sheridan the use of the theatre, if they
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4S0 c- s. 1768-1769.
chose to act some few more plays on their own ac-
coant this offer they accepted — but not finding it an-
swer to them, they finally closed the theatre May 28tb.
Victor distributed the money in his hands among
the tradesmen, who had not received a farthing that
season, and some of the poorer performers — this gave
great offence to others — but he seems to have acted
as uprightly as he could, under the existing circum-
stances—he left Ireland at the close of the Season
— and here his account of the Irish Stage ends
see his 108th letter.
From the advertisement published by the actors
on beginning to perform on their own account, it
appears that F. Aikin and Ryder were this season at
S.A. C Victor.)
CROW STREET 1758-1759.
The new theatre opened Oct 28, with an occa-
sional Proline by Woodward, after which, was
acted She wou'd and She wouM not. TFappanti=
King : Don Manuel = Arthur : (from Bath) Don
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c. 8. 1768-1759. 431
Philips: Jefferson : Ootavio = White : Soto = Lay-
field : Di^o^Mynitt: Hypolita = Mrs. Jefferson :
Florae Miss Willis : yiletta=Mrs. Mynitt : Rosara
=Mrs. Knipe : the hoase was but half full, and more
oould not be expected, as the names of most of the
performers, except King, were unknown — and the
report spread the next day was universally in dis-
favour of the new actors the next night was the
Beggar's Opera, which was repeated the Sd night to
little more than £20— these disappointments brought
the managers forward much sooner than they in«
tended — and when they performed, the public must
have wanted taste indeed, not to have crowded to
see them.
Nov. Sd Barry made his Ist app. in Hamlet— and
on the 8th in Lear, when Mrs. Dancer was Cordelia
—her second part was Monimia — she had been but
a short time on the stage, and had been engaged from
York at a venture — her 1st season did not promise
the perfection she afterwards attained — many of her
efforts at this time were regarded by the puUic eye
with coldness and indifference.
The general opinion ran strongly in favour of C. S.,
as there were Barry — Sowdon — Dexter — Jeffin'soa
—Mrs. Fitzhenry and Mrs. Dancer for the Tragedies
—and King and Woodward for the Comedies ■
towards the end of the season. Harlequin Fortnnatus
was gotten up under the direction of Woodward,
ffiQd brought out with great applause.
The season closed June 6th with Alexander the
Great.
The new Managers experienced but a moderate
share of success — the many bad houses they had.
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432 s. A. 1759-1760.
was a disappointment they could not easily dispense
with, considering the greatness of their ondertakiog
— (Victor ^ Hitchcock.) — they were also burthened
with no less than 60 Subscribers' tickets— {Wilkin^
son) see Victor's 103d letter.
King went to D. L. at the opening of the next
season.
S. A. I759-I76O.
As Victor had returned to England, the distressed
and scattered remains of the company were Mrithoat
a leader — every eye was turned to Brown — his in-
dolence and inattention to business made him ill-
qualified for the office of manager, but his reputation
as an actor and knowledge of the stage seemed to
balance these defects, and almost every performer
enlisted under him— on his part his affairs were des-
perate, he had nothing to lose, and if fortune smiled,
he might reap some temporary advantage — he ac-
cordingly hired the theati*e on moderate terms.
(Hitchcock.)
One of the first things he did, was to write to Mrs.
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s. A. 1759-1760. 433
Abington, to assure her of the choice of every lead-
ing character, if she would quit her engagement at
D. L. and join him 3 or 4 years before this, she
had played some few nights at Bath, when Brown
was manager there — she was this season engaged at
D. L. at 30 shilh'ngs a week ; but not finding an
opening there, she accepted of Brown's proposals,
and arrived at Dublin in Dec. ( Wilkinson*)
Hitchcock says — ** Brown opened Dec. 11th with
" the Stratagem. Archer .- Brown : Scrub = Waker :
** Mrs. Sullen = Mi-s. Abington : — as Brown was
<< considered as equal to any performer in Brass-*
" Bayes— Ranger— Sir John Brute — Felix — Roe-
** buck— Marplot — Dr. Wolf— Don John— Monsieur
" Le Medicin — Lord Chalkstone — Aspin — Abel
^ Drugger — so was Mrs. Abington veiy successful
** in Corinna — Clarinda — Flora and Violante —
** Lady Fanciful — Leanthe —Maria in Non Juror —
** 2d Constantia — Fine Lady in Lethe, &c. — each
'< night she appeared, she added to her reputation,
^* and before the season closed, notwithstanding the
'^ great disadvantage of not having received the Lon-
^' don stamp of fashion, she was considered as a
'' most promising actress."
Hitchcock has perhaps mistaken the season in
which Mrs. Abington played the Fine liady — see
Mrs. Abington's characters at the end of C. G. 1798-
1799— Roebuck and Leanthe are characters in Love
and a Bottle.
O'Keeffe says— '^ Mrs. Abington's manner was
*' most charmingly fascinating, and her speaking
^' voice, melodious — she had peculiar tricks in acting
<• — one was turning her wrist, and seeming to stick
VOL, X. F F
Digitized by VjOOQ IC
43* s. A. 1750-1760.
'^ a pin in the side of her waist — she was also very
^'adroit in the exerdse of her fan — and, though
^ equally capital in fine ladies and hoydens, was
** never seen in low or vulgar characters — on her
** benefit night, the pit was always railed into the
<^ boxes — her acting shone brightest when doing Es-
" tifania, with Brown's Copper Captain — ^ Brown's
** best parts, were the Copper Captain, Don John,
^ Benedick, Bayes, Sir John Restless, and Baniaby
** Brittle — at those times, in Ireland, every Comedy
** and Comic Opera ended with a country dance, by
** the characters, which had a charmii^ and most
** exhilarating effect, both to the dancers and lodcers
** on — a particular tune when be danced^ was called
<* * Brown's Rant ' — in the course of the dance^ as
^* be and his partner advanced to the lamps at the
<< front of the stage, he had a peculiar step, which
** he quaintly tipped off to advantage — ' and the au*
** dience always expecting this, repaid him with ap-
" plause."
Wilkinson arrived not long after, and made his
1st app. Jan. 4th in the Diversions of the Morning,
which had never been acted in Ireland— this was
after Much ado about Nothing — ^Benedick = Brown:
Beatrice = Mrs. Abington.
Jan. 7* Merchant of Venice. Shylock = Brown:
Portia = Mrs. Abington : with Diversions of the
Morning, Lady Pentweazel = Wilkinson : — Wl-
kinson did not take off any of the regular performers
at C. S. as he did not wish to affront Bariy, but con-
tented himself with imitating Foote, who was then at
Dublin — Barry and Mossop in consequence took
tickets of him at his benefit — - Wilkinscm acted Leer
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s. A. 1769-1760. 435
—Mrs. Amlet; to Browi;i'« Bi!<i^ and Mi's. Abtng-
ton*8 CorioqaT— Cadwallader to her Becky — Lord
Chalkrtone vid Old Man in Lethe to her French-
imtn» which she played with great applause.
His benf^ was Fe^. 15th| when jpotwith^tanding
tl^r^ was a deep snow, and a very strong play at
C. S,j the house overflowed in ev^ part, for Wil-
kinson bad many friends in Dublin— the receipt was
£172, the greatest ever known at that Ume in that
theatre — ^Douglas was the play— Nerval = Wilkinson :
Lady Randolph =? Mrs. Ibbott : — with Tea, and»
never acted in Ireland, High life below Stairs. Le-
vel 2;: Wilkinson : Sir Harry = Ryder : Duke ^ Yates :
Philip = Heaton : Kitty Mrs. Abington :— this Farce
came out at P. L. in Oct. — Wilkinson and Mrs.
Abington had seen it there, and were coasequently
perfect in the stage buaipess, and no comparison
could be drawn to their disadvantage— two material
points —much was not expected from the Farce, as
it was geowally supposed, that if it had been worth
any thmg, it would not have escaped Woodward's
notice— but half the first act had not passed, before
universal satisfaction and surprise overspread every
countenance — Ryder and Wilkinson were much ap-
plauded, and every body was in raptures with Mrs.
Abington.
In consequence of the overflow of this evening,
another night was demanded for the outstanding
tickets^ — ^this was fixed for Feb. 21st when there was
£150 in the house, tho* £40 or less seem to have
been the average receipt one night with another —
the play was the Orphan of China — Zamti = Wilkin-
son : Mandane=s Mrs. Ibbott — ^wiUi High Life again,
p F 2
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436 s. A. 1759-1760.
which went off with more eclat, if possible, than on
the first night, and Abington resounded in all parts
of the theatre — in ten days her cap was so much the
fashion, that there was not a milliner's shop bat
what was adorned with it — and Abington appeared
in lai^e letters to attract the passers by— this Abing-
ton rage, Woodward endeavoured to repress, by ridi-
cule not fit to be described, but all to little or rather
no purpose, for her reputation as an actress daily en-
creased, though on the remote ground of an un-
fashionable and ill supported theatre, which looked
like a dungeon in comparison with Crow Street.
Mrs. Ibbott played various parts with considerable
ability — Hitchcock speaks highly of her in Lady
Wrangle, Mrs. Oakly and Mrs. Heidelberg — she
would have been more successful, if her features had
been more alluring — she had a good voice, education,
and understanding — she acted Queen Elizabeth
better than any actress Wilkinson had ever seen
except Mrs. Pope — Wilkinson engaged her firom
Norwich in 1769 — but on his taking of some of her
parts from her, she returned to Norwich, and retired
from the stage in April 1787» In consequence of a
fortune left her by a relation.
Wilkinson left Dublin early in March — ^before his
benefit, Foote, who had taken the most unbounded
liberties, not only with the players, but with many
private characters, and who had actually brought
Wilkinson on the stage, as Shift in the Minor, was
so much hurt at Wilkinson's Imitations, and so little
master of himself, that he called on him in great
wrath, and protested, that if he dared take any fiur-
..ther liberties with him on the stage, he would call
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c- 8. 1759-1760. 437
him to an accoant — but Wilkinson pursued his plan,
and Foote, by his visit to him, only made a standing
joke against himself in the green-room. ( Wilkinson.)
March ?• Chances. Don John = Brown : 2d
Constantiaz: Mrs. Abington.
March 17. New way to Pay Old Debts— a strange
play for Mrs. Abington to choose for her benefit —
however she had a very good house.
Brown indulged himself in his passion for Tragedy,
and acted Old Norval — Roman Father, &c. — but
tho* he displayed great merit in his Comic characters
and was very powerfully supported by Mrs. Abington,
yet all was ineffectual —and he closed a disagreeable
campaign early in May — heartily tired of his situa*
tioD, and still more in debt than before.
Ryder, whose merit even at this early period was
universally acknowledged, proved of great service to
this theatre. (Hitchcock.)
c. s. 1759-1760.
At the close of the last season, Barry and Wood-*
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438 c s n69-176a.
ward went to London to form their tbeatrioal ar-
rangements—Woodwaird retamed to Dublin in Sep«
*— Bztfy stayed behind to finish basiness, and to
wait the teisure of Mossop, whomr they had engaged.
The new managers, from the distressed state in
which the S. A. company had separated at the close
of the preceding season, and from the engagements
they had themselves made with different performers,
entertained the most sanguine hopes of success — nor
were their expectations without reason and proba*
bility — their company was perhaps the strongest
that bad erer been in Ireland — the theatre was new
— the wardrobe excellent^^and they themselves high
in the public favour.
The theatre opened Oct. 8d, with tbe^ Way of the
World. Mirabell = Dexter : Fainall = Sowdon :
Witwotfd = Jefferson : Petulant = Whyte : Wait-
well = Walker : Sir Wilful Witwou'd r= Sparks :
Millamant=Mrs« Dancer : Mrs. Marwood = Mrs.
Kennedy: Lady Wishfort = Mrs. Mynitt: Mrs.
Fainall = Mrs. Jefferson: Foible is omitted — with
Mock Doctor = Sparks: Dorcas = Mrs. Pye: — the
house was tolerably full, and both pieces were re-
ceived with applause.
Oct 13. Stratagem. Archer =: Dexter : Scrub
=: Woodward : Mrs. Sullen = Mrs. Dancer : with
G)ntrivances. Rovewell = Vernon.
Oct 31. Mossop made his app. in Zanga, and
was received with the greatest applause— his 2d cha-
racter was Richard, and his 3d Macbeth, to Mrs.
Fitzhenr/s Lady Macbeth.
Measure for|Measure was revived. Duke = Mos-
sop : Lucio = Woodward : Isabella = Mrs. Fitzhenry :
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c 8. 1759-1760. 430
— this play was capitally acted, the reputation it
then acquired, sustained it for several years, even
when its principal supporters were disunited.
Barry reserved himself till the novelty of Mossop
bad in some measure subsided — Nov. 17th. Dis-
tressed Mother. Orestes = Barry : Pyrrhus = Sow-
don : Hermione = Mrs. Fitzhenry : Andromache =
Mrs. Dancer.
In Dec. Foote came forward in Fondlewife and
Hartop — he afterwards acted Sir Paul Plyant— Shy.
lock— Cadwallader — Lady Pentweazel, and English-
man returned from Paris. (^Hitchcock.)
Wilkinson says Mr. Dancer died Dec. 26th «-
Mrs. Dancer's name was in the bills for Juliet, but
of course she could not play — he adds, that as her
absence from the theatre reduced Barry to the most
distressing necessities, she pitied his lamentable situ*
ation, and generously relieved him by acting again
as soon as possible — in this remark more is meant
than meets the ear— he soon after speaks of Barry as
passionately enamoured of Mrs. Dancer, but un-
luckily he had a wife.*
Jan. 28. Barbarossa. Achmet = Mossop : Bar-
barossa = Sowdon : Zaphira = Mrs. Fitzhenry :
with never acted, the Minor — much was expected
from this piece, as it had been constantly puffed in
the papers— and Foote had repeated the best strokes
in it, at every table to which he had been invited~>it
was at this time produced as a little Comedy in 2 aots
* He married Mrs. Dancer as soon as it was in Us power.
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440 c. 8, 1759-1760.
—Smirk the Auctioneer was not then inserted — the
introduction and the Epilogue about Dr. Sqaintam
were not then written — the other scenes were mach
the same as when produced at the Hay. — he wrote
the part of Shift as a satire on Wilkinson, tho' he
well knew that Wilkinson's origin was quite different
from what he there represented it — he acted Shift
so as to convey to the audience that Wilkinson was
the person he meant to ridicule— all this went off well
— as soon as the audience felt the joke, they laughed
and applauded — the scene with Transfer was coolly
received, and that with Mrs. Cole very badly — for
tho' much entertainment was expected from Wood-
ward, and he was dressed with the utmost pains and
study, an article to which he paid much attention
and consideration, yet his performance completely
damned the piece, and it was with the utmost diffi-
culty he could obtain permission to finish the part —
when Mrs. Cole complained of her rheumatism, his
manner was thought indecent by the gentlemen —
and the ladies seemed offended with the character
itself — Woodward lolled out his tongue, and played
some tricks to make the thing pass off, but all he did,
only added to its damnation.
Foote gave it out for some future evening with
considerable alterations, but it was not attempted
again — this piece, which, to the disgrace of the au-
dience, was thus condemned at Dublin, tho^ sup-
ported by great actors, in some few months after-
wards, did wonders in London.
Footers benefit was Feb. 11th — Love makes a
Man. Clodio = Woodward : Don Lewis = Foote,
Ist time : with his Tragedy a-la-Mode — the boxes
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c. s. 1759-1760. 411
were fashionably filled, but the receipt of the house
did not exceed £100.
Tragedy a-la-Mode failed at this time, but was
afterwards very successful at the Hay. ( Wilkinson.)
Foote returned to London not much pleased with
his expedition as to fame or profit.
In the course of the season two young actresses
made their first appearance in Love's last Shift.*
Narcis8a=: Miss Rosco : Amanda = Miss Osborne :
— the former was the daughter of Rosco, who had
acted under Giffard at G. F. and L. L F. for 3 sea-
sons, and was engaged at C. G. in 1737-1738.
Miss Rosco's figure and features, tho' full and
rather masculine, were well adapted to the stage-
she had spirit, and possessed pleasing musical powers
— her forte lay in such characters as Lucy Lockit —
she remained several years on the stage in Ireland,
and afterwards kept a boarding school at Bath — her
Ist app. on the stage was at D. L. Feb. 9 17^7«
Miss Osborne sustained many second rate parts
with reputation— she married W. Bany the Trea-
surer of this theatre, and was engaged at D. L. in
1766-1767.
The laughable Comedy of the London Cuckolds
was performed with such strength, as to render it
popular enough to draw several good houses. (Hitch-
cock.)
* Hitchcock says Love makes a Man — a plain proof that it is
possible to make a mistake in a point with which one is well ac-
quainted— Hitchcock's mistake could not hare been owing to ig-
norancei but only to inattention.
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442 C.S. 1759-i760.
Woodward re?ived Marplot, (a circomstanoe not
noticed by Hitchcock, or Wilkinson) — Marplot =
Woodward : Col. Ravelin = Dexter : Charles = Jef-
ferson : Don Perriera = Hays : Don Lopez — Reed :
Lorenzo = Hamilton : Corrigedor = Knipe : Donna
Perriera = Mrs. Dancer : Margaritta = Mrs. Walker :
Mademoiselle Joneton^Mrs. Kennedy: Marton =
Miss Osborne : Susan = Mrs. Pakenham : Isabinda is
omitted : — this cast is from Mrs. Centlivre's Works,
printed in 176O.
Wilkinson intimates that Mossop played Kitely to
Woodward's Bobadill.
Hitchcock gives the cast of some of the strongest
Tragedies.
Othello— Othello =: Barry : lago = Mossop: Cas-
MO=: Dexter: Roderigo =: Woodward : Brabantio=^
Walker : Desdemona := Mrs. Dancer : Emilia =:
Mrs. Fitzhenry.
Venice Preserved. JaiBer = Bany : Pierre =
Mossop: Belvidera=Mrs. Dancer.
Jane Shore. Hastings =1 Barry : Duraont = Mos-
sop : Jane Shore = Mrs. Dancer : Alicia = Mrs.
Fitzhenry.
All for Love. Antony = Barry : Ventidius =
Mossop: Cleopatra = Mrs. Fitzhenry: Octavia=
Mrs. Dancer.
There never were perhaps two great Tragedians,
whose abilities so well accorded, and whose lines of
acting so little interfered, as Barry and Mossop— die
talents of each, tho' great, were distinct, and their
qualifications so opposed, as to preclude the possibi-
lity of disputes arising from immediate competition.
The Tragedies were gotten up in a stile of superi-
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c. 8. 1750*1760. 441
our splendour — the expense of tlie mere guards in
Coriolanos amoanted to £3 lOs. per night— and the
Chorus Singers and Guards in Alexander, to £8.
Woodward brought out his Pantomimes, in which
neither pains, nor money were spared*
The managers were truly deserving of the public
favour, they grudged neither trouble nor expense in
preparing their pieces for representation, on the con-
trary, their prcrfusion was their only fault.
As the season advanced, it began to be rumoured
that a new and vigorous opposition was intended —
and at the latter end of April it was put past all
doubt — on the manc^ers proposing to Mossop to
renew his engi^ement, he plainly told them he de-
signed to open S. A. the ensuing season* — ^this un-
foreseen stroke they were not prepared to encounter
—they had now a new and powerful rival to contend
with, and their hopes of having overcome all obsta-
cles proved visionary — however they oflfered Mossop
terms beyond their ability to fulfil-^these he haugh-
tily refected, and they now saw in its full extent the
error they had been guilty of, in bringing over so
great and dangerous a favourite. (Hitchcock.^
Many persons of distinction thinking it a bore
to attend the falling theatre in S. A., and yet anxi-
ous to see Mrs, Abington, proposed to her to act a
few times at C. S. before the theatre closed, and as^*
sured her of their patronage on the nights of her
performance — in consequence of this application,
* See Victor's U^th letter.
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444 C.S. 1759-1760.
she agreed to act for the managers a certain number
of times, on condition of having a clear benefit for
herself. ( Wilkinson.)
She acted Lady Townly and Lucinda in the Eng-
lishman in Paris, for her benefit May 2^, when she
had a surprising and magnificent audience.
The theatre closed June 9th with Oroonoko.
Oroonoko = Barry : Imoinda = M rs. Dancer: — with
Virgin Unmasked, by Mrs. Abington.
Woodward immediately set off for London to pro-
vide for the next season — he was followed in some
few weeks by Mossop on similar business.
Thus ended one of the most brilliant seasons ever
known in Ireland, at the end of which, Barry and
Woodward found themselves greatly deficient, and
this deficiency every year encreased, till it involved
them in total ruin.
So heavy and numerous a company had never
been collected — the weekly payments to performers
alone often amounted to £170 — tradesmen's bills
and servants' salaries frequently were not less than
£200 more — the receipts of the theatre were not
equal to these expenses, and the managers, who had
launched into such extravagance, felt too late the
consequences of their imprudence.
Whether the interest of the dramatic world and
the public in general would be best served by one or
by two theatres had been much disputed— but it ap-
pears clear as a matter of fact, that Dublin could
not maintain two playhouses, without ruin to one or
both parties. (^Hitchcock.)
OKeeffe says— <* Barry had Alexander the Great
« got up in fine style, particularly the triumphal
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C.8. 1769-1760. 445
** entry into Babylon, which, in splendour of show,
** exceeded Mossop's ovation in Coriolanus — Alex-
<' andei-'s high and beautiful chariot was first seen at
** the farther end of the stage— He, seated in it, was
<< drawn to the front, to triumphal music, by the un-
** armed soldiery — when arrived at its station to stop,
** for him to alight, before he had time even to speak,
'* the machinery was settled on such a simple, yet
** certain plan, that the chariot in a twinkling dis-
<< appeared, and every soldier was at the instant
** armed — it was thus managed — each man having
<' his particular duty previously assigned him, laid
^* his hand on different parts of the chariot — one
*^ took a wheel and held it up on high — this was a
<< shield — the others took the remaining wheels — all
** in a moment were shields upon their left arms — ^the
'< axle-tree was taken by another — it was a spear —
" the body of the chariot also took to pieces, and the
<' whole was converted into swords, javelins, lances,
*' standards, &c. — each soldier thus armed, an*anged
*' himself at the sides of the stage, and Alexander
'* standing in the centre, began his speeich.
<^ I have seen in my day Operas, Ballets, Panto-
<* mimes. Melodramas, &c. at C. G. — D, L. — the
*« Hay— and the Opera House — but never saw any
<< thing to equal in simplicity and beauty, this cha«
** riot manoeuvre of Alexander the Great.
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446 sA. 1760.1761.
S. A. 1760-1761.
This theatre had undergone a thoroagh repair
which it essentially wanted — an entire new set of
scenes was painted, and a tolerable wardrobe col-
lected.
Mossop returaed to Ireland in Sep. and with a
fiiir-olaim to success — he had collected a wery good
company, he was universally admired as an actor,
and bad a powerful interest among persons of rank,
the <^untess of Brandon and many other leading
ladies were much attached to his cause.
The Old Batchelor was fixed on for the first play
•'^ but the King's death put off the opening of the
tdieatves for some time— this was a severe stroke for
.both parties, but more particularly to the new levies
at S. A., who could not be supposed to b^ ovwbur-
thened with cash — but, fortunately, government was
very considerate on this occasion, and shortened the
usual time of mourning — when the Old Batchelor
was acted, Weston made his 1st app, in Fondlewife,
and was received with much and deserved applause
— this actor, whose naivet6 and peculiar style of
acting has not been since surpassed, remained in
Dublin the whole of the season — and tho' he was far
from having attained the eminence which he after-
wards so justly acquired, yet he was received with
great pleasure in the Lying Valet, Cimon in Damon
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s. A. 1760- 176 J. 447
and Phillida, Old Man in Lethe, Daniel in Conadoiis
Lovers — Clown in Measure for Measure — Old
Woman in Rule a Wife, and parts of that style —
besides Weston^ the 1st night presented Sowdon in
Heartwell, and Sparks in Capt. Bluff, (both these
performers had changed sides) and a Miss Kennedy
in Laetttia.
The next night faorought forward Griflith, who had
been for some years the prioeJpal support of the Bath
theatre— he was the son of Griffith the actor before
mentioned— his person was small, but uncommonly
el^ant and well made — he was easy, sprightly and
fashionable — he had a marking eye, a pleasing coun-
tenance and a good yoice— he perfectly understood his
author and had great judgment — Ranger was his
first pait — he afterwards gave great satis&ction in
Sir Harry Wildair — Jack Stocks in the Lottery,
which was gotten up on purpose for him — Archer—
Capt. Brazen Lord Chalkstone and Fine Gentle-
man in Lethe— Mercutio — Lothario — Man of Taste
— Younger Wou'dbe — and a variety of other cha-
racters in the same line. {Hitchcock.)
Griffith acted Archer at C. G. Oct 24 1155— he
played the fqps and fine gentlemen at Edinburgh
in 1763 — in I764-I765 he was engaged at D. L.
where he acted Archer — Lord Foppington — Lord
Trinket — Jack Meggot — Fme Gentleman in Lethe
— and Toung C3aokit for the bt of himself and
Moody — ^he was afterwards for many years Manager
of the Norwich company, and supported that situa-
tion with much credit (^Jackson.)
Hitchcock is shamefully careless in what he says
about Griffith — he first represents him as engaged
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41'8 s. A. 1760-1761.
under Mossop, and afterwards says that « the Lottery
« was no sooner exhibited at S. A. than the week
«< following presented it to the public at C. S.
** supported by the Jack Stocks of Griffith and the
<< admirable Cloe of Mrs. Abington'' — as Jack
Stocks was one of Woodward's regular parts, he no
doubt acted it at C. S. to Mrs. Abington's Cloe —
Woodward acted Jack Stocks at C. G. Nov. 28 1744
—and had frequently acted the part at D. L.
Hitchcock instead of giving a separate account of
each theatre, speaks of them both alternately in the
same chapter — his account consequently is not so
dear as it might have been.
Beggar's Opera was acted. Macheath = Brown :
Peachum = Sparks : Polly = Miss Green : Lucy =
Miss Rosco.
An English young gentleman of the name of Shaw
made his 1st app. on the stage, and supported a
respectable line in Comedy and Tragedy.
Ryder had left S. A. and was at the head of a
company in the Country — Mrs. Ibbott and the two
Miss Philips' were gone to England.
Though the town was much divided in its opinion
of the respective companies, yet the balance seemed
inclined towards Mossop — Digges, in point of real
merit and public estimation, stood next to Barry and
Mossop — few men ever gave so happy an idea of the
finished gentleman — the el^ance of his figure and
deportment, the ease and propriety of his action,
with the justness of his conception and delivery, most
deservedly gained him numerous admirers — he had a
few peculiarities which at first did not please, bat
those who saw him frequently were reconciled to
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s. A. 1760-1761. 449
them — as he was an extraordinary favourite at Edin-
burgh, it was with some difficulty that he was pre-
vailed on to return to S. A.
Mossop's greatest expectation rested on Mrs. Bel-
lamy— he had entertained hopes of Mrs, Fitzhenry,
but they were disappointed — on mature considera-
tion, she preferred the certain situation she then held
at C. S., to the uncertain prospects of the other
house — Mrs. Bellamy was then in great reputation,
and without her assistance Mossop could scarcely
have played a single Tragedy with any probability of
success— necessity therefore obliged him to yield to
her terms, and he agreed to give her 1000 guineas,
besides two benefits, for the season —a great sum for
him to risk.
Mossop, Digges and Mrs. Bellamy made their first
appearance in Pierre, Jaffier and Belvidera. Venice
Preserved was acted on the same evening at C. S.,
but curiosity operated powerfully in favour of S. A.,
where there was a better house— Mossop and Digges
were received with the warmest applause — (^Hitch-
cock) — on Mrs. Bellamy's speaking her first line
<< lead me ye Virgins, &c.'' befaiod the scenes, it
struck the audience as uncouth and unmusical— yet
she was received, as was prepared and determined
by all who were her's or Mossop*s friends, and the
public at large, with repeated plaudits on her en-
trance — but the roses were fled — the once young
lovely Bellamy was turned haggard — and her eyes,
that used to charm all hearts, appeared sunk, large,
and ghastly — (Wilkinson) — She herself says that she
was not so well received in Belvidera as formerly,
and that she was hurt at it — Mossop was cut to the
VOL. X. G
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450 s. A. 1760-1761.
quick, and never played Pierre so indifferently as on
that night.
Venice Preserved was repeated, but with no great
effect, at either house.
The remainder of the season proved a continual
disagreeable scene of rivalship, productive of infinite
tarouble, great expense and vexation, attended with
loss of reputation and very little profit — it seems to
have been laid down as a rule by the respective ma*
nagers, as soon as a piece was advertised to be in
rehearsal or ready for exhibition at the other theatre,
to prepossess the public with an idea of its being in
preparation in a superiour style at their own theatre
—sometimes they boldly advertised the very piece for
the same evening without any idea of performing it,
but merely to divide or suspend the general curiosity
— ^thus, when the Lady's last Stake and Polly Honey*
combe came out at C. S., Mossop announced them
as forthcoming at S. A., tho' he had not the least
intention of performing them.
The greatest piece of generalship exhibited through
the whole contest was respecting the Orphan of
China — Mossop observed a profound silence on the
subject, and kept his designs as secret as possible —
on the contrary, at C. S., they for several wedcs
made a great parade of their intentions of producing
it with a pomp and magnificence equal to that of
D. L., both with regard to dresses and scenery.
When the expectations of the town were raised to
the utmost pitch, most unexpectedly early in the
morning of Jan. 5th, bills were posted up announc-
ing the representation of this Tragedy at S. A. that
very evening, with this specious and popular addition,
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s. A. 17aa-176l. 451
that tiie charaoters would be ail new dressed in the
manofactares of that kingdom.
MoBsop knew that all depended on producing thia
play before the other house, as the dresses and scen-
ery at C. S. would be very saperiour to his -^he had
therefore used every exertion possible --they rehears-
ed 3 times a day, and the tailor woriking day and
nighty the dresses were completed in 48 hours --the
event proved Mossop was right--— the Orphan of
China drew 5 tolerable houses to S. A. before they
were able to get it out at C. S. —and then it did not
answer the expense they were at -* the dresses and
scenery were truly characteristic, but the curiosity of
the public had been in a great measure previously
gratified — it was thus acted at S. A. Zamti zz Mob*
sop: Etan =: Digges : Timnrkan := Sowdon : Hamet
nShaw : Mandane z= Mrs. Bellamy :— Mossop had
originally acted Elan.
The Tempest, revived at this time, displayed
another scene of contention — in this case both com-
panies started &irly, and brought it out the same
night with nearly equal success — they continued
playing it till they both lost money by it — Prospero
= Mossop : Stephano = Brown : Caliban =: Sparks :
Trinculo r= Griffith : Miranda = Miss Macartney :
Ariel = Miss Toung : — Hitchcock omits the part of
Ferdinand at both theatres, and says that Digges
acted Gonzalo, which seems a little doubtful.
Against the Pantomimes of C. S., Mossop judici-
ously revived Henry the 8th with the coronation, as
frequently done at the bc^nning of a new reign
-it made a great bill, excited curiosity, and tho' the
G o 2
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452 s. A. 1760-1761.
dresses were not very splendid or numerous, yet
they answered the purpose, and the play drew several
houses.
The Farce of High Life below Stairs was in great
reputation at both houses — one night at this theatre
Stayiey in the Supper scene, gave for a toast *^ his
** Majesty King George the 2d, Heaven rest his
** bones"— he probably did not mean any thing dis-
respectful, but it was certainly highly improper, and
a liberty which ought not to have been taken— seve-
ral of the audience highly resented it, and Mossop
with great propriety publickly reprimanded him for
it— Stayley endeavoured to justify himself — words
ensued, and in conclusion he was dismissed the thea^
tre — he then appealed to the public, but with little
success, and as be had created himself many enemies
by his wi*iting and mimickry, he was pitied by few,
blamed by most, and never after regained his situ-
ation in the theatre— see Scottish Stage 1767*
The Jealous Wife, which came out in Feb. at
D. L., was acted late in May — Oakly = Brown :
Major Oakly = Dawson : Charles = Usher : Lord
Trinket = Kniveton : Capt. 0*Cutter= Sparks: Sir
Harry Beagle =: Shaw ; Lady Freelove = Mrs. Ken-
nedy : Harriet = Miss Usher : Mrs. Oakly =: Mrs.
Bellamy.
Mrs. Bellamy acted her favourite character of Cle-
one with some success.
Mossop, towards the end of the season, when the
town was nearly tired, opened a subscription for five
revived plays — Don Sebastian — Ambitious Step-
mother — Timon of Athens — Tamerlane — and
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C8. 1 760-1761- 453
Richard the 3d — these, tho' forced and thinly at-
tended, carried him through, and he finished with
the last mentioned play June 6th — when he returned
thanks for the great patronage and support he had
experienced. {Hitchcock.)
Animosities between the two theatres were carried
to such a pitch, that a man who was interested in
favour of C. S., arrested Mrs. Bellamy as she was
going to the theatre, on purpose that she might not
act that evening — the bailiff owned to her, that he
had been particularly ordered not to execute the writ
on a morning, as they well knew she had friends that
would advance the money — her part was conse-
quently obliged to be read She acknowledges
that tho' she had 50 guineas a week for her engage-
ment, yet she had not a guinea before hand. {Mrs.
Bellamy.)
C. S 1760-1761.
The theatre opened with a new occasional Pro-
logue, written and spoken by Woodward, who with
great spirit affected to make light of the difficulties
he had te encounter — repeating those lines of Hot-
spur—
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54 c. 8.1760-1761.
" Hairy to Hany shall (and horse to hone)
** Meet and ne*er part» till one drop down a
corse.**
As Mossop's name was Henry as well as Wood-
ward's^ the quotation was a happy one — Dr. John-
son reads —
^* Harry to Harry shall, hot horse to horse
''Meet and ne'er part, till one drop down a
corse*' —
But Woodward no doubt followed the playfaoose
copy — Hitchcock cardessly prints ^^ *' till one drop
'^down of cimr^'— the play on this ni^t was All's
well that ends well, and was chosen for its title —
Fbrolles = Woodward : Helena =:: Mrs. Dancer : with
Lying Valet— the house was far from crowded.
Nov. 17. Busy Body. Marplot = Woodward :
Miranda = Mrs. Dancer — with Intriguing Chamber-
maid — Mrs. Dancer at this time stood high in
general estimation — every day added justly to her
fame — she had great natural requisites for the stage
— and happily for the Drama, Barry, who was one of
the best teachers in the world, had every inclinatiw
and opportunity to bring her abilities to maturity.
Beggar's Opera. Macheath = Vernon: Lucy =
Mrs. Abington as soon as the managers found
they were to be opposed by Mossop, they offered her
an eligible engagement, which she thought proper to
accept — rightly judging that her abilities would re-
ceive greater support and have better opportunities
of displaying themselves with Woodward, than with
Mossop — it was indeed no easy task to adjust the
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c 8. 1760-1761. 4.55
distribution of parts between her and Mrs. Danoer
— however it was agreed to divide them as near as
possible with impartiality.
Venice Preserved. Jafl&er = Fleetwood, his 1st
app. in Ireland : Pierre = Barry : Belvidera Zi Mrs.
Dancer : with 1st tirne^ Queen Mab. Harlequin =
Woodward: Columbine = Mrs. Abington.
Lady's last stake, revived. Lord George Bril-
liant = Woodward : Mrs. Conquest = Mrs. Dan-
cer: Miss Notable s Mrs. Abington, who in
girlish characters was at this time superionr to any
actress frcmi her naivete, and genuine traits of
nature — she acted Miss Proe to Mrs. Dancer's An-
gelica, and did herself infinite credit in Polly Honey-
combe.
Orphan of China. Zamti = Barry : Etan = Fleet-
wood : Tlmurkan = Walker : Hamet = Jefferson :
Mandane=:Mrs. Fitzhenry,
Tempest. Prospero = Fleetwood : Stephano =
Woodward : Caliban = Glover : Ariel = Mrs. Gloven
The great advantage the managers had over the
other theatre was in their Pantomimes — Woodward
was decidedly the best Harlequin on the stage —
Queen Mab and Harlequin Sorcerer were performed
many nights — they were exhibited in a very grand
style, and were universally admired — but they did
not repay the enormous expense attending their re-
presentation.
The Way to keep him was acted for the 1st time
in Ireland in Feb., when Mrs. Abington added greatly
to her reputation, by her acting in the Widow Bel-
mour.
Shuter made his 1st app. in Dublin June 3d in the
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456 S.A. 1761-1762.
Miser and Schoolboy — and was received with great
applause — he afterwards played Lord Chalkstone
and Old Man in Lethe— Master Stephen and Scapia
— his benefit was Love makes a Man. Don Lewis
= Shuter : Clodio = Woodward ; Carlos = Dexter :
with Miss in her Teens, Fribble = Shuter : Flash
= Woodward.
The theatre closed June 9th with Every Man in
his Humour.
The C. S. managers opened a new theatre at Cork
this summer — Shuter went with them, but Mrs.
Abington did not— the season there proved brilliant
and profitable. (Hitchcock.)
S. A. 1761-1762.
Mossop had engaged Mrs. Abington and Mrs*
Fitzhenry, who did not find themselves comfortable
in the same theatre with Mrs. Dancer — Ryder like-
wise returned— they opened with the Spanish Fryar.
Oct. ISth, Baddeley and Miss Ambrose made their
first app. in Gomez and Elvira — Baddeley also acted
Touchstone — Sir Francis Gripe — Frenchman in
Lethe— -Dr. Caius — Honeycombe» &c.
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s. A. 176M762. 4^7
Among the ill effects produced by two rival thea-
tres, one was, that of sedacing performers from their
first engagements — changing sides was so much the
fashion, that performers were sometimes called to
go on the stage at one theatre, when they were
actaally dressing at the other. (^Hitchcock)
Wilkinson arrived in Jan. and was engaged for 12
nights— his 1st app. was in the Minor. Shift, Smirk
and Mrs. Cole = Wilkinson : Minor = Jefferson :
Wealthy = Sowdon : Sir William Wealthy = Badde-
ley : Loader = Ryder : — as this piece had been
damned two years before, the bringing it forward
would have been hazardous, had not a pompons ac-
count of the great run it had had at all the three
theatres in London, been inserted in the papers —
it was now received with universal applause — Wil-
kinson in Shift took off Mrs. Bellamy — he prudently
determined not to affront Barry and Woodward by
mimicking them — as he knew Mossop hated him in
his heart, he resolved not to do any thing that would
preclude him from an engagement at some future
time at C. S., but he consented that Mossop should
advertise him in Woodward's favourite character of
Razor, as meaning to act it in his manner — with
this Mossop was much pleased — tho' he had been
outrageously offended at Wilkinson for taking off
himself— Wilkinson acted Razor with success — his
representation was considered as exact, and the Up-
holsterer was several times repeated— Mrs. Abington
was Termagant.
Wilkinson also acted Lady Pentweazel — his bene-
fit (Feb. 32) was a very great one •— Jealous Wife.
Oakly = Wilkinson : Major Oakly = Baddeley:
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458 8. A. 1761-1762.
Lord Trinket =r Jefferson : Charles = Reed : Rasset
= Heaphy: LadyFreelove = Miss Kennedy: Har-
net = Miss Macartney : Mrs. Oakly=:Mrs. Abington :
— with Tea— Bucks have at you All— and the Farce
of the Country House.
After his engagement was over, Mrs. Abington
requested him to act for her benefit in an Interlude,
which proved a foolish business — the play was Rule
a Wife. Leon = Mossop : Perez = Brown : Esti-
fania= Mrs. Abington : — she spoke an Epilogue in
which there were some lines saroastically aimed at
Woodward, who deserved this at her hands, for iriiat
he had said of her about two years before — they were
very severe, and as she delivered them excellently in
Woodward's manner— he was stung to the quick.
Mossop had this season an Italian Opera company
which was of infinite service to him as to profit, but
very astonishingly hurt his own consequence as a per-
former, for the great box nights were chiefly confined
to those of the Burlettas. ( Wilkinson.)
The first performance of this kind was Dec. 19th.
Mossop and Mrs. Fitzhenry were strengthened by
the accession of an actor of considerable abilities,
who had then been but a short time on the etage —
Reddish made his 1st app. in Etan, and by his figure,
voice and manner, made a very favourable impres-
sion on the audience. (Hitchcock.)
Reddish about 1763 inserted a paragraph in the
papers informing ihe public that he was a gentlraaan
of easy fortune— as he was acting Sir John Dmilant
he threw away a book which he had been reading
and which was elegantly bound — a gentleman in the
pit seeiog him do this, said to Maddin, '' pray Sir,
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s. A. 1761-1762. 459
*^{do you think that conduct natural ?** — '< Why no
** Sir" replied he gravely, " not as Sir John Dorilant,
** but strictly natui*al as Mr. Reddish, for you know
*< he has advertised himself as a gentleman of easy
'^ fortune." — thus Wilkinson — it is however Bel-
mour, who throws away a book in the School for
Lovers— and there is a stage direction for him to do
80.
All in the Wrong, acted at D. L. in the summer,
was gotten up at both theatres — they had the start
at S. A. by six nights, and then it was not worth
much to either party — {Hitchcock.) — in all proba-
bility, Mrs. Abington was Belinda at one house, and
Mrs. Dancer at the other.
In March, Barry and Mossop fixed their benefits
for the same night, each intending to play Othello —
— Mossop relying on his novelty, and Barry on his
established reputation in that part— but by the inter-
position of the Lord Lieutenant, Barry postponed
his benefit till the next night — he was inwardly not
displeased that the critics might have an opportunity
of seeing them separately — party zeal, added to cu-
riosity, brought more persons to the theatres, on
both these evenings, than they could contain — in
point of acting, Barry was as much superiour to
Mossop, as Mossop would have been to him in Rich-
ard or Zanga — but from taking too much pains, he
did not act his favourite part as well as usual. ( WiU
kinscnJ)
Wilkinson says that King, who had been a great
favourite at Dublin, having obtained some few weeks
leave of absence from D. L., came to S. A. in May,
but did not attract— and that owing to an influenza.
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460 s. A. 1761-1762.
which affected men women and children, he had not
more than £14 in the house at his benefit, tho' he
acted Bayes — spoke Bucks have at you All — and
played in Garrick's Interlude of the Farmer returned
from London, which was then quite new — Wilkin-
son adds that at Dublin, they are remarkable for
doing every thing for an actor, or nothing — King at
this time did but little — some few years after, when
he acted Lord Ogleby, it was with difficulty that a
seat could be obtained for several succeeding nights.
Hitchcock on the contrary tells us, that King was
at this time a most deserving favourite with the town,
that he first appeared in Ranger and Cadwallader
and was received with that warmth of applause,
which his former character and present improved
state of acting, merited — he adds, that during his
Bhort stay he acted Perez — Sharp — Oakly — Lord
George Brilliant — Benedick — Lovemore — Scrub —
Fribble and Bayes — in these characters he was capi-
tally supported by Mrs. Abington.
Wilkinson speaks of what happened while he was
at Dublin, and is therefore more to be depended on
than Hitchcock, who sometimes talks at random, and
who is always inclined to represent things in the
most favourable point of view.
The victorious party at this theatre finished their
career with eclat — but Mossop had no great reason
to boast of the state of his finances, and might have
said with Pyrrhus '' Such another victory would rain
us.''
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as. 1761-1762, 461
C. S. 1761-1762.
The theatre opened with Romeo and Juliet on the
24th of Oct. — Woodward soon after returned with
Miss EUioty then in considerable reputation as a fine
girl and a pleasing actress— Nov. 11th she came for-
ward in her original and favourite character of Maria
in the Citizen — Woodward was Young Philpot
— and the Farce was several times repeated — Miss
Elliott afterwards played Mrs. Harlow — Jessica —
Eaphrosyne— M iss Notable-Cherry — Columbine —
Polly Honeycombe — Schoolboy, &c.
Much about this time Mr. Thomas Barry was first
introduced to the public in Tamerlane, his father
playing Bajazet — this young man's figure was light
and pleasing, his abilities were but moderate, he
might just be said never to offend.
Stamper was engaged this season — he had acted
under the management of Victor and Sowdon in
17^^-17^6 — as the houses were but indifferent, the
managers, as their last resource, brought forward
Macklin, who acted Shylock, lago and the Miser
several times with success. (^Hitchcock.)
Dec. 12. Macklin brought out Love a-Ia-Mode,
which was acted 16 times in the course of the season
— Sir Archy = Macklin : Sir Callaghan = Bany ;
Squire Grooms Woodward: and Beau Mordecai=:
Messink, who (as Wilkinson says) was excellent in
a snperiour degree.
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462 c. s. 1761-1762.
Sir Callaghan was partly the character of Barry
himself in his convivial moments — for as he excelled
in telling humourous stories relative to Irishmen and
their blunders, he knew how to fill up the minutiae of
the picture to advantage — the heroism of his figure,
and the frankness of his manners, gave that finish to
the whole, which rendered it as perfect a piece of
acting as peiiiaps ever was exhibited. {Oooke.)
In order to oppose the musical pieces, which were
performed with such success at S. A., Midas was
first produced — in ridicule of the other house, it was
ludicrously announced as being brought forward un-
der the conduct of Sigoior Josephi Vemoni (himest
Joe yemon)-Hit was then in 3 acts, but being found
too long, was afterwards cut down to 2 — (^Hiichcock)
— the cast was Midas = Midion : Apollo = Vernon :
Pan = Morris : Damfistas = Oliver : Daphne = Miss
Elliot: Nysa = Miss Polly Toung: Mysis = Mrs.
Macneil : — Barry was to have performed Sileno»
and rehearsed it several times — but not being equal
to the musical part, he gave it up, and it was fdayed
by Corn.
As you like it was from Woodward's ToocfastoDe,
Mrs. Dancer's Rosalind, and Vernon's singing, (in
the character of Amiens) a great favourite in Dub-
lin. ((TKeeffe.')
Wilkinson having completed his engagement at
S. A. was prevailed on by Woodward to act 4 nights
ate. S. —the 1st night he acted Kitely to Wood-
ward's Bobadill — his benefit was May 25th» Ten-
der Husband — Capt. Clerimont = Dexter: Hum-
phrey Gubbin = Woodward : Sir Harry Gubbin =
Wilkinson : Biddy TipkinnMrs. Dancer : — the play
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c. s. 1761-1762, 463
ended without the last speech as mentioned before
—see C. G. March 4 1786— the Farce was Thomas
and Sally — Wilkinson acted Dorcas as an Italian,
and at the finish, he spoke the following words in
the manner of Signora De Amice, the greatly fol-
lowed Singer at S. A, — << Me am sorry, me am ex-
<< tremely sorry, me cannot speak better Englis — me
<< return my sincere tanks for dis grat a fevor— *Me
'' yould yish better, much better vords to express my
<< gratitude*^ — this occasioned great laughter.
Tho' Wilkinson's engagement was concluded, yet
he did not leave Ireland immediately, and was sur-
prised one day at looking at the playbill to read—
" Orphan. Castalio= Barry : &c.— between the play
<< and fiirce, Mr. Wilkinson will give Tea — after
<< which Mr. Macklin's Love a-la-mode** as this
was done without Wilkinson's knowledge, and after
his engagement was expired, he was naturally much
displeased — but Barry, who possessed the art of per-
suasion in the highest d^ree, soon made all things
easy— and after the play was over, Wilkinson told
the prompter he was ready to goon — but just as
they were drawing up the curtain, the prompter told
him he must not proceed with his part of the enter-
tainment till aflier Love a-la-mode, which Macklin
insisted should be acted first — Wilkinson told Barry,
that if he was to oblige him by doing what he had
no right to expect, he would either do it as announc-
ed in the bill, or quit the theatre — to this, Barry did
not pay much attention, as he was afraid of affront-
ing Macklin, lest he should engage Mrith Mossop—
Wilkinson in consequence left the theatre, and went
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46 1 C.S.176M762.
where he was 8are they would not seek for him —
Barry thought either that Wilkinson would not be
called for, or else that a slight apology would settle
the matter — this however did not prove to be the case
— ^for when the Farce was finished, and the audience
were judged to be departing, on peeping through the
curtain, a few minutes after their exeunt omnes, they
were all espied in dread array, and as regularly seat-
ed as they had been viewed the hour preceding —
after some time a violent clamour arose, when Barry
stepped forward and informed the audience, that
Wilkinson had been at the theatre, but was gone
away, for what reason he could not tell— they insist-
ed on his sending for Wilkinson — which was done,
but to no purpose —on their patience being exhaust-
ed, they departed vowing vengeance on Wilkinson,
and threatening to treat him, the first opportunity,
with a dish oi their tea in lieu of his own — many of
Wilkinson's friends blamed him — but certaioly
Barry was the most to blame, for putting Wilkin-
son's name in the bill without his knowledge. ( Wil-
kinson.^
Wilkinson says — *^ Mrs. Pritchard, who had never
'* been in Ireland, was engaged on lai^e terms to
'* perform a few nights with Barry — her long estab-
'' lished fame gave rise to great expectations, but
<< notwithstanding she made her first app. (June 14)
" in her favourite character of Lady Macbeth, in
*' which she was perfectly suitable as to figure, man-
'< ner, voice and judgment, yet the experiment was
<< tried at too late a season of her life, and she never
<^ drew a second crowded house/'
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c s. 1761-1762. 465
Hitchcock on the contrary tells us, that she made
as favourable an impression on the audiences in Ire-
land as she had done in England.
Wilkinson seems the more correct of the t^o —
Mrs. Pritchard at D. L. frequently acted 4 nights out
of 6 — so that her^person, being continually before the
audience, was familiar to them, and her increase in
balk overlooked — but when she made her first ap-
pearance in Ireland, the case was very different —
even Hitchcock allows that her figure operated much
in her disfavour with many — ^youth and beauty are
always a great recommendation on the stage, but no
where so much as in Dublin.
Mrs* Pritchard acted Mrs. Oakly, which she re-
peated twice— then Mrs. Sullen — Lady Betty Modish
— Clarinda — Jane Shore — Zara in M. B. — and
closed the theatre July 19 with Merope.
Notwithstanding any little temporary success dur-
ing the course of the season, yet the interests of this
theatre were visibly on the decline, and the mana-
gers found their receipts infinitely inferiour to their
disbursements, which were too heavy for a Dublin
theatre to support. (Hitchcock.)
This ill success was not so material to Barry, for
being in debt never disturbed his rest — but Wood-
ward was of a quite contrary disposition — his dinner,
good or bad, would not digest unless he was certain
it was paid for — ( Wilkinson)— he was a plain honest
man, and having lost a capital of some thousands,
the produce of many years' ceconomy in London, he
began to gi*ow uneasy, and was inclined to withdraw
firom a partnership, which threatened ruin — Barry
had less at stake — his property was inconsiderable,
VOL. X H H
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466 cs. 1761-1762.
and bis feme Buffered do dicninution, from the re-
verse of fortune — he was therefore determined to
persevere — the diffioulties they were involved in» na-
turally occasioned misunderstandings, which success
would probably have prevented — Barry thought
Woodwai'd's expenses for Pantomimes too great— he
in return exclaimed against Barry's Tragedy Pro-
cessions ^— each day added to their differences, aod
towards the close of the season it seemed to be the
mutual wish of both to separate — an arbitration ap-
pear^ to have been entered into between the parties,
but afterwards not abided by — this produced a paper
war — each of them, as is customary in these cases,
laid the blame on the other, and both in all probabi-
lity were to blame — Woodward commenced hostili-
ties by the following advertisement — '^ From the late
<* behaviour and conduct of Mr. Barry to me, rela-
^* tive to the Theatre Royal, I am advised for my
*< own safety, to let the Public know, that the part-
^' nership between Mr. Barry and me is dissolved,
^< and also to caution all persons from giving fitrther
** credit to the said Mr. Barry on the partnership
" account
« July 12 1762. Henry Woodward.^
This produced a recriminating advertisement from
Barry, which was followed by a second and a third
of the same nature, till things terminated in a total
separation -» the managers lost several thooaaod
pounds, and involved themselves in a suit of Chan-
cery — many debts were contracted, not since dis-
charged, and many obstinate parties and attachments
formed, which the following years rather inflamedt
than appeased.
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s. A. 1762-1763. 467
Bany went with bis Company to Cork and Lime-
rick for the vacation. (Hitchcock.^
S. A. 1762.1763.
This season exhibited nothing yery remarkable till
towards the close — the theatres were visibly on the
decline, the receipts of them both were scarcely
sufficient to defray the expenditure of one — the
greatest contention seemed to be, not who should
gain most, but who should lose the least.
Mossop was deprived of Mrs. Abington who was
engaged at D* L.* — of Reddish and Sowdon who
were gone to C. S. — and also of Brown— to counter-
balance these losses, he gained over Dexter and im-
ported Mrs. Burden, who was obliged to sustain
Mrs. Abington^s line of business with very Utile ad-
* Hitchcock is probably correct in sayiDg tliat Mrs. Abington
did not play till towards the dose of the season— -bnt she was not
engaged at D. L«-...6ee D. L. Not. 27 1765.
H H 2
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468 c.s. 1762-1763.
yantage to herself — he also engaged some other
actresses of litde importance — Ryder — F. Aildn —
Jefferson — Baddeley and Mrs. Fitzhenry continued
with him — to these was added Foote, who made his
1st app. in the Minor — bnt his novelty was now
pretty much over, and out of his own pieces little
merit could be ascribed to him.
Towards the close of the season Mossop prodaced
Mrs. Abington, whose popularity at this time ren-
dered her a welcome visitor, but not being well sap-
ported, she did not particularly attract, and this
theatre closed much earlier than the other. ( JJiftA-
cock.)
C. 8. 1764.1763.
Woodward as an actor was much missed — Madc-
lin continued with Barry — his greatest support was
King Arthur, xdiich was gotten up with mudi ex-
pense, and acted with great success.
The latter part of the season was remaricable for
thie great number of London performers engaged at
this theatre-^Shuter — Dyer — Mrs. dive — Uik^
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as. 1762-1763. 469
Sparks— Obrien— Mrs. Lessingham — and the cele*
brated NaDcy Dawson.
Loye in a Village, which was just new, was per-
formed with success. Justice Woodcock =Shuter :
Young Meadows = Mahon : Hawthorn = Wilder :
Eustace = Dyer : Hodge = Glover : Cook = Messink :
Bosetta=Mrs. Lessingham : Deborah Woodcock =
Miss Mason : — a double hornpipe by Slingsby and
Nancy Dawson.
The theatre closed early in August with the Stra-
tagem. Archer nObrien: Aim well = Dyer : Sullen
= Luke Sparks : Scrub = Shuter : Mrs. Sullen =
Mrs. Lessingham : with the Guardian. Toung
Clackit= Reddish: Harriet — Mrs. Dancer. {HitcJi*
cock.)
The True bom Irishman seems to have been
brought out in the latter part of this season.
Cooke says that Macklin brought out his Farce in
1763 — he represents Macklin, Aikin, Ryder, and
Mrs. Dancer, as acting the principal parts — a cast
which could never have taken place, as Ryder and
Mrs. Dancer in 1763 and I764 were never in the
same theatre.
Kirkman tells us, that Macklin brought out his
Farce in the season of 1763-1764 at Mossop's thea-
tre.
Hitchcock does not mention the piece till the end
ofl763.1764at S. A.
CyKeeffe says— (vol. 1, p. 61)—." On the first night
<« of Macklin's < True-born Irishman,* in Dublin, a
«* well-known eccentric gentleman, who had just
** come to a great fortune, sat with a large party in
** the stage box — when Messink came on as Fitz
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470 c. s. 1762-1763.
*^ Mongrel, this said gentleman in the boxes cried
" outy < why, that's me ! but what sort of rascally
'^ coat is that they've dressed me in ? — here, 111
" dress you 1' — he stood up, took oflF his own ridi
^* gold-laced coat, and flung it on the stage — Messink
'< took it up smiling, stepped to the wing, threw off
'* his own, and returned upon the stage in the gen-
<< demands fine coat, which produced the greatest
** applause and pleasure among the audience — this
'^ piece was highly complimentary to the Irish na-
^< tional character — Macklin himself played Mar-
" rough O'Dogherty j Woodward, Count Murfi-
" room ; and Mrs. Dancer, Mrs. Dogherty** —
(yKeeffe is clearly wrong in supposing that Wood*
ward acted Count Mushroom in Ireland — it was at
C* G. that he acted that character — but if O'Keeffe
be correct as to Messink, the piece must have come
out at Crow Street, as Messink belonged to that
theatre — for the plot see C. G. Nov. S8 1767.
Cooke adds — <' the part which attracted the great-
<< est applause of all, was Mrs* Dancer in Mrs.
<< Dogherty — she was then in the bloom of youth and
<< beauty, and, with other high qualifications of pro-
'< fession, possessed a vivacity of manner and counte-
^< nance that was irresistible— she had likewise, from
*<her residence in Ireland, acquired that pleasing
^'part of the language, which is called < the Brc^e,'
*< and which, mixed with her native enunciationi
<^ was the very character the author could have
"wished for/'
Digitized by VjOOQ IC
s. A. 1763-1764. 471
S. A. 1763-1764.
Mossop had lost Mrs. Fitzhenry, and finding him-*
self inferiour in Tragedy, where his own forte lay,
he jadiciously directed his attention to Comedy and
Musical pieces— with Mrs. Abington — Macklin —
Ryder — Dexter — Mrs. Lessingham — Stamper, &c.
many Comedies were performed with much credit
(Hitchcock.)
Kirkman gives us from a Memorandum of Mack-
lin, the receipts of 22 nights.
£ 8 d
Nov. 9. The Refusal, and True Bom
Irishman •••
14. The Beggar's Opera. ••
18. The Beggar's Opera ...
21. The Revenge— True Born Irish-
man ... ••• •••83 8 4
dS. The Merchant of Venice, and
Saunders Wire Dancer
25. The Beggar's Opera...
28. Double Dealer— True Bom Irish-
man •«•
Dec. 1. The Bexar's Opera
2. Julius CsBsar— Alderman
7* The Brothers — ^Alderman
9« The Beggar's Opera— True Bom
Irishman ... ... ... 95 0 2
68
8
S
74 11
9
74
11
9
8S 16
5
9S 10 11
76 15
1
46 16
6
100 0
0
0 0
0
Digitized by VjOOQ IC
64 7
0
97 13
3
91 16
94
121 6
8
79 0
7
63 8
7
74 17
2
73 3
10
47*2 8. A. 1763-1764.
92. By Command, Reyenge, and
True Bom Irishman ..• US 2 O
28. The B^gar*8 Opera — Saunders
Wire Dancer .•. ... 86 14 5
Jan. 2. Old Batchelor — Tme Bom
Irishman ... ... ... 40 2 9
6. The B^;gar'8 Opera— Wire Dan-
cing
20. The Beggar's Opera ...
27. Opera and Wire
Feb. 6. Merchant of Venice — Love
a-IaJVlode...
10. Beggar's Opera — ^Wire Dancing
13. Refusal — Love a-la-Mode
17. Opera
26. Comus— Love a-la^Mode
On the 7th of Dec. the audience seems to have
been dismissed — Mossop was no doubt advertised
for his original part of Perseus — he probably acted
Maskwell in Double Dealer — Bratus — Old Batche*
lor — and Comus.
Trae Bom Irishman. Murrough O'Dogherty =
M acklin : Counsellor Hamilton = Aikin : Count
Mushroom = Ryder : Mrs. 0'Dogherty = Mrs. Keif:
— at a rehearsal of this piece, one of the performers,
whom Macklin had taken pains to instruct, not pro-
nouncing the name of Lady Kennegad, as he liked,
Macklin stepped up to him, and, in an angry tone,
asked him what trade he was of? — the performer
replied, he was a gentleman — then, rejoined Macklin,
<< stick to that, Sir, for you will never be an actw.'*
(Kirkman and Hitchcock.)
Digitized by VjOOQ IC
s. A. 1 763-1764. 473
Kirkman says that Macklin altered Philaster, and
brought it out at S. A. with tolerable success— he is
rather confused as to the season in which this hap-
pened, and the whole of his assertion as to Philaster
is not to be relied on— it receives however some con-
firmation from the contemptuous manner in which
Macklin in 1764 speaks of Colman's alteration of
that play — see Kirkman vol. 1 p. 458.
Miss Catley's vocal powers and uncommon abili-
ties were just then beginning to captivate the public
in London — Mossop invited her to Dublin, where
she arrived late in Dec, and made her 1st app. in
Polly Peachum— she pleased beyond expression, and
even in the Christmas holidays, the most unfashion-
able part of the season, the houses were crowded
every night — her Polly was often repeated, and her
Rosetta drew much money to the treasury — in June
Shuter arrived, and with his support the theatre was
kept open till the beginning of Aug. — during which
time. Love in a Village — Thomas and Sally — Comus
— Devil to Pay, &c. were often repeated.
Aug. 14. The Lord Mayor bespoke Richard
the Sd. Richard = Mossop : King Henry = Aikin :
Tressel=: Ryder : Lady Anne = Mrs. Keif: Queen
= Mrs. Usher: — Mrs. Keif was afterwards Mrs.
Egerton — Mrs. Usher came out in I756-I757, as
Miss M. Philips — she was aunt to Mrs. Jordan.
CHUchcock.)
Digitized by VjOOQ IC
47* c. 8. 1763-1764.
C. S. 176S.1764.
The theatre opened with Othello and Virgin Un*
masked.
Barry's great reliance was on Sheridan— lie had
also gained over Mrs. Fitzhenry, who had been for
the last two seasons at S. A. — Reddish oontinaed
with him.
In Comedy he conld not boast mach— he had lost
M acklin — and Mrs. Kennedy, tho' excellent in the
Old Maid, Mrs. Honeycombe, &c., had neither 1^
nor figure for genteel Comedy.
Early in Nov. Mrs. Fitzhenry opened in Calista—
Sheridan came forwards a few nights after in Hamlet,
and was receiyed with reiterated applanses — ^Mrs.
Htzhenry was the Queen— his next part was Richard
— after this, he and Barry combined their strength
and played Pierre and Jaffier — Brutus and Cassins
(probably Antony) — King John and Faulconbridge —
Hastings and Dumont — Castalio and Chamont— in
many Tragedies the four principal performers all
acted.
Othello — Othello = Barry: Iago=Shmdan: Des-
demona=1Vlrs. Dancer : Emilia = Mrs. Fitzhenry.
Fair Penitent Horatio = Sheridan : Lothario =
Barry: Sciolto=:Heaphy: Altamont = T, Barry:
Calista = Mrs. Fitzhenry: LaTinia=Mrs. T. Bany.
Alexander the Great — Alexander = Barry: Clytus
Digitized by VjOOQ IC
c. 8. 1763-1764. 475
= Sheridan : Roxana = Mrs. Fitzhenry : Statira =
Mrs. Dancer.
All for Love. Antony = Barry : Ventidius = She-
ridan : Cleopatra = Mrs. Fitzhenry : Octavia = Mrs.
Dancer. {Hitchcock.)
Hitchcock here is not so explicit as might be
wished.
Wilkinson arrived in Dublin — before he had ap-
peared on the stage, he called on Macklin, with
whom he found Mossop — they endeavoured to per-
suade him to join them at S. A., but that was out of
the question, as he was under an absolute engage-
ment to Barry — Mossop then threatened him with
his most severe vengeance, if he dared to take
him off.
Wilkinson's 1st app. was in Bayes — in the Simile
of the Boar and Sow he took, off Mossop, which had
a good effect— in the 3d act where he was correcting
an actor, he hit off some words and directions
pointedly in the manner of Macklin, supposing (as
he says) that Macklin, who had often encouraged him
in his Imitations, would only have laughed on this
occasion — instead of which he called on Barry in
high form the next day, and said he should not trouble
himself about Wilkinson, bat that if any farther
affront was passed on him at C. S., he should
expect Barry to answer for it — Barry sent for Wil-
kinson, and told him that he had pawned his honour
that nothing should be done to offend Macklin, add-
ing << let me depend on you for not drawing me into
'< a scrape, particularly as I hint to you, that I think
<< Macklin will come to Church again'' — which ac-
cordingly happened the next season.
Digitized by VjOOQ IC
476 c s. 1768-1764.
Wilkinson had no mercy on Mossop, who firoL
his peculiarities was one of the best subjects an Imi-
tator could wish for — and no one was more delighted
than Sheridan, who had himself (and indeed with
reason) been so angry, when Wilkinson proposed to
take him off actors should be consistent, and
either repTohate unfair imitation entirely — or else be
content to be imitated in their turn — Wilkinson says
he never met with any body but Holland who could
bear being taken off with good humour — but Holland,
one night after Wilkinson had imitated him in Tra-
gedy a-la-Mode, said, if his friend Wilkinson conM
support a difficult character throughout, equal to his
performance that evening, he should pronounce him
an excellent actor — Wilkinson acknowledges that be
hurt Mossop's fame by his imitation of him — which,
after all, Mossop did not resent in the way he had
threatened to do.
Wilkinson played Bayes several nights, and acted
repeatedly — Oakly — Wolsey — Golcondus — Cadwal-
lader, &c.— his benefit was Dec. 19th. MourDiog
Bride. Osmy n = Barry : King = Wilkinson : Zara
= Mr8. Fitzhenry : Almeria=Mrs. Dancer : — with,
by particular desire, the Prodigal's Return in the
manner of the original— with Tragedy aJa-M ode, &c
The Prodigal's Return was the celebrated Prologue
which Woodward spoke at C. 6. on his return to
London, in which he called himself a Prodigal, and
ridiculed his own ambition of becoming manager with
a good deal of humour— by way of accounting for it
he said —
" Faith ! they put « powder in my drink' d'ye see,
<< Or else ^ by Pharoah's foot' it could not be.
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c. s. 1763-1764. 477
<< Belike Queen M ab touchM me, at the fall of
^< the moon,
** With a field Marshal Manager's batoon —
" And so I dreamt of Riches — Honour — Pow'r,
<< 'Twas but a dream iho' — and that dream is
'* o'er/'
He was to play Marplot, in allusion to which he
concluded with
" Oh ! may I act the part still o'er and o'er,
** But never be the Busy Body more."
The whole of the Prologue may be seen in Wil-
kinson or Hitchcock.
The above bill had passed Barry's inspection and
was in public circulation— it was then customary to
advertise a benefit 3 weeks before hand — about 5
days before it took place, Barry in perturbation
called on Wilkinson, and said he had had a letter
from Woodward who had seen the bill advertised in
the Dublin Journal, and who insisted on having the
Frolc^e expunged, as it might greatly injure him-*
this was done — and as the Prologue was neither in
the great or small bills for the day, Barry and Wil-
kinson flattered themselves it would no more be
thought of.
When the curtain rose to soft music, and Mrs.
Dancer was impatiently expecting her usual plaudits,
she was saluted with a cry of—" off— off — Wilkin-
** son — Wilkinson — Woodward's Prologue, &c." —
Mrs. Dancer made a courtesy and attempted to
speak, but was compelled to retire — Barry in high
rage summoned Wilkinson, who was dressed for the
Digitized by VjOOQ IC
478 c. s. 1763-1764.
King, and the audience continued all the while in
tumult — Mrs. Dancer flew into a violent passion for
what she had sustained on Wilkinson's account —
and Barry taxed Wilkinson with having occasioned
the riot, and planted people in the house to call for
the Prologue — this, Wilkinson solemnly denied -~
three proper apologies were made to the audience,
who would hear of nothing but the Prologue, they
would not even wait till the Tragedy was over — so
Wilkinson was obliged to speak it as well as he could
recollect it — it should be observed, that when Wood-
ward first spoke the Prologue, he popped his head on
the stage from the door, drew himself hastily away,
as if ashamed of having left his good friends and not
having known when he was well off — he next crept
on by the curtain peeping, and then hiding his &oe
again, till he attained the centre of the stage — which
was well contrived and had a good effect— Wilkinson
in imitation of Woodward, practised the same ma-
ncBuvre, which the audience attributed to a tacit con-
fession of shame for having attempted to deprive
them of part of the evening's entertainment, and for
having kept them so long waiting — his pardon was
soon fully proclaimed by peals of laughter and ap-
plause— and here he was in hopes the matter would
have ended, but on his next appearance in Cardinal
Wolsey (to Mrs. Fitzhenry's Queen Katharine) he
was not suffered to proceed, till he promised to speak
it after the play — a few days after, he was to act
Major Sturgeon and •as the Mayor of Garratt was
then new, he had pleased himself with the effect his
figure would produce on his first entrance — bat he
was disappointed in this, and obliged to speak the
Digitized by VjOOQ IC
c. 8. 1763-1764. 479
Prologue, tho' so improperly dressed for it— this con-
tinued 6 or 7 nights.
When Woodward went oyer to Ireland some time
after, with a view to perform — in order to secure his
former footing, his 1st app. was announced for a pub-
lic charity bene6t — and on the day this was to take
place, the fatal Prologue was actually printed as
spoken by the grateful Henry Woodward, with all
the words which were considered as offensive printed
in Italics — this foolish business was not a little
pushed forward by the opposite interests connected
with the other theatre — at last the matter was so
serious, that Woodward and his friends thought it
prudent for him to decline playing there that night,
or any other — and he speedily left Ireland, not ap-
pearing even in the streets, for fear of being insulted.
( Wilkinson.)
Woodward was so far wrong about the Prolc^e,
that he should not have said any thing that could
wear even the appearance of ingratitude to the Irish,
by whom, both as a man and as an actor, he had
been much respected — but the Irish carried their re-
sentment infinitely too far — ^the most exceptionable
line was —
" After an absence of four tiresome years'*
which might be fairly referred to his own pecuniary
losses and disappointments, without casting any slur
on the public.
Woodward, at his benefit C. G. 1768*1764, spoke
a Prologue to a new Farce called False Concord — in
tiiis he vindicates himself from the charge of ingra-
titude.
Digitized by VjOOQ IC
480 c. 8. 1768*1764.
<< Hibernians sons the imagined insult feel,
^< And judge with honest but mistaken zeal :
<< This grateful heart could never feel the crime
^< To wrong in thought that hospitable clime ;
*' A simple Prologue, on myself a sneer,
'< Made up of whim and mirth and spoke last
year,
" The Prodigal BeturrCd^ was all th* offence —
<< Lines free, I think, from malice as from sense^
** Could such a random shaft; a wound intend?
'< Tve shot my arrow o'er the house, and hurt my
friend."
(London Magazine April 1764.)
This ought to have satisfied the Irish.
Wilkinson left Dublin in Jan. and few Comedies
were played afterwards — towards the close of the
season, Barry hired a company of Italian Burletta
performers, who scarcely answered the expense at-
tending them.
One night in April, two gentlemen handing some
ladies to their chairs, were insulted by some servants
who were in waiting, and who not only abused them
grossly, but attempted to follow them on their retom
into the box-room, till they were stopt by the centi-
nels then on duty — not content with this outrage,
several of them threw their lighted flambeaux into
the box-room, crying out at the same time ^' fire I
fire I
Such an outcry, joined to the smoke of the flam-
beaux, occasioned an universal terror, and produced
the most dreadful confusion — the house was cleared
as soon as possible, and the mistake was discovered
Digitized by VjOOQ IC
8. A. 1764-1765. 481
— but nomberlesB accideDts happened, and two
lives were lost — the two persons who were killed,
were a batcher and his wife, who left eight orphan
children— a free benefit was given them at each thea-
tre, and a considerable subscription raised besides.
Sheridan wished to have given Lectures on Elocu-
tion, but his creditors would not allow him, and he
was obliged to give up the plan, for fear of being ar-
rested, tho' he had appropriated three-fourths of his
income for the payment of his debts.
Barry closed an unsuccessful campaign in June
and went as usual to Cork and Limerick.
Cork Sep. 14. 1764. Distressed Mother. Orestes
= Barry : Pyrrhus = Heaphy : Hermione = Mrs.
Pitzhenry : Andromache (with the original Epilogue)
= Mrs. Dancer — with Hob in the Well. Hob =
Olover. ( Hitchcock.)
S. A. 1764-1765.
S. A. opened Oct. 15th with Mossop in Richard
and Ryder in Scapin — but the hopes of the theatre
rested chiefly on musical pieces — Signora Nicolina,
VOL. Z. I I
Digitized by VjOOQ IC
482 8. A. 1764-1765.
better knovm as Signora Spiletta, was a great fiip
Tomite — bat Miss Catley's voice and whimsical style
of singing took the lead and drew crowded houses-
after she had played Polly several times, in order to
oppose a new and onexpected manodavre of the other
theatre, she acted Macheath — (Mrs. Slammakin =
Mr. Ryder)— this had the desired effect — aboat the
middle of the season Mrs. Abington left C. S. and
retmned to S. A. — she played Polly for the sake of
novelty.
The Maid of the Mill followed. Lord Aimwordi
= Ryder: Sir Harry Sycamore = Collins: Giles =
Wilder: Fairfield = Dawson: Ralph = Waker:
Patty = Miss Catley: Fanny = Signora Spiletta:
Lady Sycamore = Mrs. Keif: Theodosia = Mrs.
Wilder :— acted 9 times, besides benefits.
Such was the rage for musical pieces, that the
Beggar's Opera was acted 1 1 nights — Love in a
Village 16»-Artaxerxes 14 — besides the Jovial Crew
— Comus — and the Italian Barlettas.
Collins, who afterwards exhibited his JBrushj
made his 1st app. in Yomig Mirabel, and then
acted Justice Woodcock — Dick in Confederacy—
Peachum — Sir Francis Wronghead — Edmund in
Lear — ^Angelo— Gibby, &c.
Mossop closed May 19th — but opened his theatre
again in July, purposely for English Operas, whidi
continued till the banning of October. (Hitch-
cock.)
Digitized by VjOOQ IC
cs. 1T64-1765. 483
c. s. 1764-1765.
The early part of the season proved profitable —
to the novelty of the Venetians and rope dancings
Barry prefixed his strongest Tragedies — his receipts
were increased, but his expenses were enormous —
when public curiosity abated, he had recourse to a
stratagem —the rage for Miss Catley was at this
time so great» that it was highly expedient to endea-
vour to stem the torrent — Barry, conscious that his
musical performers were not equal to those of S. A.,
boldly announced himself for Capt Macheath :
Polly = Mrs. Dancer : Lucy = Mrs. Abington : — the
novelty of the attempt excited curiosity, and an-
swered his most sanguine expectations.
Certain it is, that tho' his vocal abilities could not
enable him to compass the common tunes of this
well known piece, yet his figure, manner, and act-
ing made ample amends, and he really was the fine
gay bold-faced gentleman of the road — Mrs. Dancer
gave Polly a delicacy, pathos and interest which few
professed singers have ever been able to give the
part — and Mrs. Abington's Lucy was ever esteemed
capital — Macklin was Peachum— I. Sparks, Lockit
— Mahon, Mat of the Mint — and Mrs. Kennedy,
Mrs. Peachum.
The Maid of the Mill was afterwards brought out
— Lord Aimworth;= Barry: Sir Harry Sycamore =
Mahon : Giles = Morris : Ralph = Hamilton : Fair-
I l2
Digitized by VjOOQ IC
484 8. A. 1765-1766.
field = Glover : Marvin = Palmer : Patty = Mr«.
Dancer: Fanny = Mrs. Glover: Lady Sycamore =
Mrs. Kennedy: Theodosia = Mrs. Mahon : — acted
5 times.
The Countess of Salisbury, which had never been
acted, was brought out late in the season, and per-
formed 6 nights with success — Alwin = Barry:
Countess = Mrs. Dancer :— see Hay. I767.
At the close of the season in July, Barry foond
his finances much impaired by the vocal powers of
his opponents, and the very heavy expenses of his
own theatre.
Barry went to Cork with his company, where he
gained reputation and profit.
There was another strong detachment this som*
mer at Drogheda — among the principal perfonnen
were Macklin, Ryder, Lewis, Austin, Mrs. Keif,
Mrs. Austin, &c. (Hitchcock.)
S. A. 1765.1766.
The theatre opened with Miss Catley in Mac-
heath— she also acted Polly and Lucy— she relin-
Digitized by VjOOQ IC
c. 8. 1765-1766. 485
quished Sally and made a capital part ot Dorcas —
she gave up Rosetta and played Deborah Woodcock
—she was at this time at the height of her reputa-
tion and drew much money to the theatre — Operas
still continued entirely the fashion.
Some new performers were engaged — among
whom was Blisset, who afterwards proved an actor
of considerable merit at Bath.
Edwin, at this time very young, made his 1st app.
in Ireland in Sir Philip Modelove— long were the
abilities of this eccentric actor obscured, nor could
the most profound judge at this time foresee the
extraordinary eminence he afterwards attained — he
continued at Dublin two seasons, and acted Old
Philpot-^Lord Trinket— Justice Woodcock, &c«
Mr, Lewis Deval, formerly proprietor of S. A.,
died at the age of 90— he had had an annual benefit
at this theatre. (^Hitchcock.)
c. s. 1765.1766.
It was with much concern Barry perceived his
opponent crowned with success, which his utmost
Digitized by VjOOQ IC
486 c. 6. 1765-1766.
exertions coald not prerent — the credit and reputa*
tion of his theatre had been for some time grado-
ally lessening, and the certain conseqaences ap-
peared—salaries were unpaid, and debts contracted,
which he had not abilities to discharge*
Thas disagreeably situated, he adopted an expe-
dient, which, tho' it procured him temporary relief,
was attended with the utmost disgrace of the
theatre— he introduced some new performers to the
town — these were no other than some Dutch Dogs
and an Italian Monkey — thus Hitchcock — but
(yKeeffe says the Monkey was brought out by
Mossop.
Kirkman mentions, from Macklin's papers, some
few of the plays acted in the course of this season.
Nov. 28. Merchant of Venice, and Lo?e-a-la-
Mode.
Dec. 12. Rule a Wife, and True Bom IrisboiaD.
26. Romeo and Juliet, and True Bom XrisbinaD.
Jan. 15. Othello, and True Bora Irishman.
22. Miser, and Love-a-la-Mode.
Feb. 7« True Bora Scotchman, 1st time.
14. True Bom Scotchman.
15. True Bora Scotchman.
A benefit. Tme Bom Scotchman.
Kirkman adds — << after Macklin had performed
^^ the number of times he had agreed for with Bany*
** he did not choose to renew his engagement"--
Macklin in a letter to his daughter, Feb. 21st 1764^>
says — <^ My True Bom Scotchman is not yet come
** out, but it is highly admired both by the actors, and
<< some ladies and gentlemen of the first fitshioo and
<< taste, to whom I have read it — on Monday, March
Digitized by VjOOQ IC
s. A. 1766-1767. 487
** the 5th, I think it will be oat'' Cooke BuppoBes
this play to have come out at S. A. in 1764 — and
Hitchcock does not mention it till 1770-1771 — ^the
Trae Born Scotchman was originally in 3 acts — it
was afterwards extended to 5 acts, and brought out
as the Man of the World- see C. G. May 10 1781.
The Clandestine Marriage, which came out in
Feb. at D. L*, was read in the green-room at C. S.,
and considered by the majority of the performers as
not worth getting up— Mr. T. Barry however pro-
duoed it at his benefit, when it pleased wonderfully,
and was acted twice a week at Cork during the
suoimer. (Hitchcock.)
S. A. 1766.1767.
Few circumstances occurred worth mentioning —
Mossop still retained his superiority, tho' in truth he
bad very little reason to boast — among the new per-
formers he introduced Miss Browne, who was daugh^
tor to Sowdon, and afterwards Mrs* Jackson.
{Hitchcock.)
Digitized by VjOOQ IC
488 s. A. 1766-1767.
She Gallant, or Square - Toes Outwitted. Sir
Geofry Gingle = Waker : Delamour by the author :
Thady Mac Brogue (his servant) =: Jones : Sir An-
thony Woodville = Hollocombe : Young Woodville
(his son — in love with Florimel) = Jackson : Flori-
mel Csister to Delamour) = Mrs. Jefferys : Emily
(daughter to Sir Anthony) = Miss Vandermere :
Betty (her maid) = Miss Eaton : — Delamour and
Emily are mutually in love — Sir Anthony insists that
his daughter should marry Sir Geofry Gingle, an old
man who had offered to take her without a fortune
— Florimel, dressed as her brother, is let into Emily's
house in the middle of the night — Sir Geofry is on
the watch, having received from Florimel an anony-
mous letter to inform him of what was likely to hap-
pen— he believes Emily to be incontinent, and re-
signs his pretensions to her — Sir Anthony offers
Emily to Delamour, who readily accepts her — Flo-
rimel marries Young Woodville^— this is an indiffe-
rent Farce — it was printed in London, but without
the author's name in Yl&Jj ** as now performing at
** S. A." — O'Keeffe, in his Recollections, says that
this was the second piece which he wrote, and the
first of his pieces which was acted — he afterwards
brought it out at C. G., with considerable alterations,
as the Positive Man — see March 16 1782.
The Connaught Wife was printed in London io
1767 " as performed at S. A." — it probably came
out a year or two sooner, as Ryder in I77O-I771 is
said to have been 5 years absent from the capital —
Terry Moriarthy = Jones : FretfuU = Hollocombe:
Vainlove= Jefferys: Tipple = Ryder : Mrs. Fretfiill
=:Mrs. Jefferys : Katty = Miss Vandermere:— this
Digitized by VjOOQ IC
c. s. 1766-1767. 489
Farce is a bare-faced plagiarism, being nothing more
than the Journey to Bristol with slight alterations—
the Honest Welchman is turned into an Irishman —
for the Journey to Bristol see L. !• F. April 23
1731.
Like Master like Man was printed in Dublin in
1770 with two casts S. A. Carlos = Mossop :
Sancho = Ryder : Lopez = Edwin : Leonora = Miss
Slack: Jacinta=Mrs. Jefferys : C. S. Carlos =
T. Barry : Sancho = Hamilton : Leonora = Mrs.
Keif: Jacinta=: Miss Ambrose : — this Farce is taken
from the Mistake— it was probably brought out in
1765 or 1766— when it was performed for Reddish's
bt. at D. L. April 12 I768, it is said in the bill to
have never been acted there.
c. s. 1766.1767.
Barry, tho' much embarrassed, yet not entirely
disheartened, by the ill success of the last two sea-
sons, took the field with a good company, among
whom, as Hitchcock says, were Lewis and Macklin.
Phillis at Court was published in London in I767
** as now performing at C. S.*'— Colin = Mahon :
Digitized by VjOOQ IC
490 c. 8. 1766-1767.
HobbiDoIr^Vernel: Frederick = Palmer : Damon =
Massey : Mademoiselle = Signora Spiletta : Phillis
= SigDora Cremonini : Princess Emily = Miss Sladc:
Clara = Miss Ashmore : — this Comic Opera, in S
acts, is only Lloyd's Capricious Lovers, with addi-
tional music, and some immaterial changes in the
dialogue — Mademoiselle is the same character as
Lisetta, but as Spiletta spoke broken English, some
of the speeches belonging to her part were given to
Clara, and some to Frederick — for the Capricious
Lovers see D. L. Nov. 28. 1764.
Notwithstanding every effort of Barry, the first
part of the season proved unsuccessful, while Miss
Catley brought crowded houses to the other theatre.
In this exigence Barry turned his eyes towards
Sheridan, with whom he concluded an engagement
which was of great service — Sheridan's first 4 nights
were very good — at this time the receipts in general
were very low — Love in a Village, repeated 5 times,
never reached £30 — sometimes not £14 — other
nights had fallen so low a8£10— to Sheridan's Hamlet
there were £171 19 7 Irish— to Richard £113 15 0
—to Cato £141 16 2— to Hamlet again £148 9 5.
This was some help to Barry's shattered finances,
but with this extraordinary assistance it was not in
his power to save himself, and at the conclusion of
the season he found he was more involved than
ever.
After a seven years' contest, he was obliged to re-
sign the field to his seemingly more prosperous rival,
having during that time experienced much vexation
and disappointment and wasted so many years of
the prime of his life— ^instead of reaping the fruits of
Digitized by VjOOQ IC
c. s. 1766-1767, 491
bis shining abilities, he incurred debts he could never
discharge, ruined many persons connected with him,
and involved himself in difficalties for the rest of his
life.
Mossop's finances were also much deranged, his
credit impaired and his resources nearly exhausted.
{Hitc/icock.)
Macklin said, that it was not the opposition, but
the vanity, expense and ignorance of the managers
that mined the Dublin theatres — for instance, Sheri-
dan's extravagant way of living, Barry's prodigality,
and Moesop's litigious spirit, for he spent in law at
least £2000.
There is a considerable deal of truth in what Mack-
lin says, but still the grand point was, that Dublin
conld not maintain two theatres — yet this, Macklin
would not see — he had written a pamphlet in &-
vour of having two theatres, and he was of much too
obstinate a disposition to retract an opinion so pub-
lickly given — Macklin, who was so fond of law him-
self, ought not to have reproached Mossop for being
litigious — it was probably the consciousness of his
own former habits, that restrained him from saying
any thing about Mossop's gaming — Mossop, when
he had a good house, instead of endeavouring to
extricate himself by paying either performers or
tradesmen, grew desperate, and flew to the fashion-
able gaming tables — he often left the theatre with a
hundred guineas in his pocket, and returned home
with an aching head and heart — the Countess of
Brandon served him greatly it is true, but the money,
she occasioned to be paid at the theatre, ofl^n went
afterwards into her own pocket «— such at least (as
Digitized by VjOOQ IC
492 c. 8. 1766-1767.
WilkinBOD says) was the universal opinion in Dublin
— Gentleman says, " My old school-fellow Mossop,
'^ who had little more than public merit, and private
" character to sacrifice, impaired both very much— if
^ he had pompous dresses for himself, an unlimited
<' round of characters, some quality acquaintance
^* (who stripped him of more by private gaming than
<* they served him in public) and the free exercise of
<* his own infallible opinion, he was happy, tho'
** hourly solicited by starving actors, and daily watch-
'* ed by keen-scented bailiffs — he prostituted native
<< honesty, which I am sure he possessed, to insuper-
" able pride, and immoveable obstinacy — he was a
*< dupe to artful females, especially an old noble lady
*' in Dublin, who used to make a tolerable audience
** for her dear Harry, as she stiled him, and after
<< the play, stripped him at her route, of twice what
" her interest had procured.'*
Wilkinson relates an instance of the poverty to
which Mossop's performers were reduced — '' in
<* 1764 the Distressed Mother was to be acted —
** Orestes = Mossop : Andromache = Mrs. Burden :
€€ — ^th much difficulty she forced her way into
^ Mossop's presence, and the following dialogue
<* ensued.
** Mrs. Burden. O I Sir, for heaven's sake assist
<< me, I have not bread to eat, I am actually starv-
<< ing, and shall be turned out in the street***
" Mossop (in state) — Wo-man 1— you have £5 per
« week, wo-man I
«< Mrs. Burden. True, Sir, but I have been in
« Dublin 6 months, and in all that time have only
<< received 6 pounds — I call every Saturday at the
Digitized by VjOOQ IC
c s. 1766-1767. 493
** office for my salary — bat no money is the answer
" — ^besides. Sir, your credit is at stake — how can I
*^ play Andromache without black satin shoes ?
'< Masscp. Woman» b^one ! I insist on your
'< having black satin shoes for Androm-a-che — and
^'wo-man, if you dare ask me for money again^ I
" will forfeit you £10. wo-man.
** So ended that real tragical scene of penury and
" pomposity/'
Wilkinson's account is no exaggeration — Blisset,
in July 1823, said, that when he was engaged under
Mossop, (see S. A. 1765-1766) he was literally starv-
ing, from not being able to obtain his small salary —
he one day got into M ossop's house, and, while the
servant was looking for his master, Blisset found
some victuals, which he eagerly devoured.
One night Barry lay dead on the stage as Romeo
—after the dropping of the curtain, two persons,
who had gained admission behind the scenes, ad-
vanced towards him, and with great politeness and
attention, helped him to rise — all three thus stand-
ing together, Barry in the centre, one of them whis-
pered, *' I have an action. Sir, against you," and
touched him on the shoulder — ** indeed I'* said
Barry, << this is rather a piece of treachery— at whose
suit?^ — the men told him the name of the plaintiff^
ftnd Barry, who had no alternative, prepared to walk
off the stage, and out of the theatre in their custody
—at that moment, the scene-men and carpenters,
who had observed, and now understood how it was
with their master, poor Barry, after a little busy
Digitized by VjOOQ IC
494 c. s. 1766-1767.
whiBpering conversation, went off, andaimoBt imme-
diately returned, dragging]on with them a piece of ma-
chinery, followed by a particular bold and ferodous
carpenter, who grasped a hatdiet — Barry smrprised,
asked them what they were about ? — one of them said,
*^ Sir, we are only preparing the altar of Merope ;
^^ because we are going to have a sacrifice'' — the car-
penter wielded his hatchet, and looked at the two
bailiffs — Barry alarmed, said, ** be quiet you foolish
'^ fellows V" but, perceiving they were serious, he
was apprehensive of a real tragedy, and beckoning
the two catchpoles, made signs that he would go
along with them — he led them through the lobbies
and passages in safety, to the outward door of the
theatre, where they quitted him, on receiving his
word of honour, that the debt should be settled the
next morning — they wished him good night, thank-
ful for his protection, and rejoicing in their escape.
CaKeeffe.)
O'Keefie says — ** 1 was once asked by Barry (who
^* knew my skill in drawing) to make his face fw
^* hear — I went to his dressing-room, and used my
** camel*hair pencil and Indian ink, with, as I though^
'< a very venerable effect — when he came into the
** green-room, royally dressed, asking some of the
<' performers how he looked, Isaac Sparkee, in his
'* Lord-Chief-Joker way, remarked, < as you belong
'' ' to the London Beef-steak Club; CVKeeffe has
'' * made you peeping through a gridiron,' — Barry
*' was so doubtful of his own excellence, that he used
« to ask die old experienced stage-carpenters, at re-
<< hearsals, to give him their opinion how he acted
Digitized by VjOOQ IC
6.A.&C 8.1767-1768. 495
^< such and saoh a passage ; bat used to call them
«« aside for this purpose/*
S. A. & C. S. 1767-1768.
Moesop had now the town to himself, and he
hoped that having accomplished so important a point,
a few succesful seasons would amply recompense him
ibr the many disagreeable days he had spent in the
endeayour to effect it — to secure this point more ef-
fectually, his first step was to obtain possession of
both theatres — he played about a month in S. A.,
while C. S. was undei^oing a repair — Dec. 7th he
opened C. S. with Richard the 3d — the house was
not crowded*
Browne, ever a Ifavourite with tibe public, was well
attended in his principal characters in Comedy — and
Mrs. Fitzhenry, on her return from London^ was re-
ceived with warmth and cordiality.
Hitchcock here gives a strong instance of bis want
of accuracy — he had enum^ated Mrs. Fitzhenry
among the performers at C. S. the preceding season
Digitized by VjOOQ IC
496 s. A. & c. s. 1767-1768.
— in which he was probably right, as she was only
engaged at D. L. for I765.I766.
In Feb. Clinch made his first app. on the stage in
Castalio, and was very successful — his next charac-
ters were Jaffier, Lothario and Essex — he proved a
valuable acquisition — his figure was excellent, his
face manly and expressive, his voice, strong, clear,
and possessed of great variety.
Mrs. Fitzhenry acted the Countess of Salisbury
for her benefit, and had £^01 1 4 Irish, in the
house, which is supposed to be as large a sum as had
ever been known the Orphan of China one night
brought £140 4 6.
Tho' in the sole possession of the town, Mossop
did not neglect to present every novelty in his power,
and none could be more acceptable than Miss Catley,
who was engaged for 6 nights, and charmed once
more with her musical powers.
Mossop was weak enough to exhibit himself in
Archer.
Sheridan, who was at this time delivering his lec-
tures, was prevailed on to perform 3 of his principal
characters --Hamlet, Richard and Cato — which he
did with his usual success.
In the latter end of the season,. King and Mrs.
Abington once more visited Dublin, and appeared in
most of their favourite characters — King's Lord
Ogleby was peculiarly popular. (^Hitchcock.)
O'Keeffe — vol. 1, p. 151 — " King brought full
*' houses, yet the performers not being able to get their
^* salaries, discontent arose to mutiny and conspiracy
'< — yet on the night that King was to have his benefit.
<< they assembled in the green-room, all ready-dressed
Digitized by VjOOQ IC
s. A. &0-S. 1767-1768. 497
" for their several parts— the grand dressing room in
''which King had to prepare himself was next to
'' the green-room — the performers were all in a
'' murmur, some having looked through the curtain,
''and seen the house very full, thought at least they
" ought to be paid their salary for that night — King
"overheard them, quitted his dressing room, and
" walked into the green-room, but with a coante-
" nance, attitude, and manner, the most conciliatory
*' and good-natured, although he must have over-
"heard some of the remai*ks which were couched in
" rather bitter terms-^ he had his purse in one hand
'^well stocked with guineas, and going round the
"room, asked them one by one what might be the
" amount of their salary by the night — each an-
" swered, and on the answer, he drew the sum from
" his purse, and presented it to each in turn — all
" began now to be ashamed of their intention, and
" refused taking the money, except one, a comical
"joking man, and a capital actor — his character in
"the Clandestine Marriage was Sterling — with
" whimsical manner, and an arch grimace, which he
" was very clever at, he took ^the guineas and put
" them in his pocket, saying in character —
" Ay, this is the Omnium, nothing like the stuff."
*' King made a low bow to the company, and with
" a smile of kindness and thanks, returned to his
" dressing room— both play and entertainment went
" off in the first style."
VOL, X K K
Digitized by VjOOQ IC
498 s. A. & c. s. 1768-1769
S. A. & C. S. 1768.1769.
Several new performers made their appearance —
Comellys came out in Ralph in the Maid of the MiU,
and stamped an impression on the audience, which
his merit afterwards amply confirmed — he was fol-
lowed by Saunders from D. L. in Polonius and Mrs.
Wright in the Queen— the next night Mrs. Saundersy
formerly Miss Reynolds, and the original Country
Girl, came forwards in Violante, and Combrush
in the Honest Yorkshireman — these novelties had
however no effect, and the theatre promised to be
un&shionable and unfrequented —this made Moesop
hasten his intended operations — in Nov. Foote
brought out his new play of the Devil upon two
Sticks, which succeeded equal to his most sanguine
expectations— he was at this time of infinite service
— he seldom played to less than £100 — and some-
times to £130.
Mossop's engagement with some rope dancers did
not answer — their first exhibition brought but £39
— Hitchcock very properly wishes that the public
would always be of the same mind, and banish such
a species of entertainment to the proper places for it
— he observes that managers very seldom have re-
course to such resources but from necessity — this is
hardly true, and we cannot always say of managers-
Digitized by VjOOQ IC
8. A. &C.8. 1768-1769. 499
" Disdaining that, which yet they know will take,
*' Hating themselves, what their applause must
make.'* {Drt/den.)
Mr. and Mrs. Walker after passing some few years
at C. 6. returned to Dublin — he had merit in Ty-
rants, and she in Chambermaids.
O'Keeffe says—** Walker had a fine person, a full
'* tone, and correct, clear articulation— Mrs. Walker's
'* cast was that of Mrs. Clive, in which she was very
** capitaP' — Mrs. Walker, as Miss Minors, came out
at the Hay., under Macklin, in 1744.
Miss Cadey arrived in March, and brought
crowded houses, especially to her Euphrosjme — the
Padlock had been previously performed, but did not
become popular, till she acted Leonora— the original
cast of the Padlock in Dublin was — Leander =: J.
Banister from D. L. : — Mungo = Wilder : Doa
Diego = Vemel: Leonora = Mrs. Hudson: Ursula
= Mrs, Saunders : — J. Banister was evidently a dif-
ferent actor from the well known Charles Bannister
—the former acted at D. L. March 12 177I for Mrs*
Barry's bt.
The School for Rakes, which came out at D. L.
in Feb., was brought forward at the close of the
season, and repeated several times.
Mossop closed a profitable season in June — and
for the first time visited Cork, where he brought
great houses. ( Hitchcock.)
K K 2
Digitized by VjOOQ IC
500 8. A. & c 8. 1769-1770.
S. A. and C. S, 1769-1770.
The theatre opened Oct. 11th with Miss Catley in
Polly— this great favourite had at that time lost part
of her attraction, and, an indisposition confining her
after she had played some few nights, the manager
was himself obliged to come forward in Hamlet,
which brought a tolerable house, £95.
Among the new performers was Miss Glassington,
who appeared in Yiolante, and afterwards acted
Selima in Tamerlane — she was at £dinbui^ in
1773, (see Prince of Tunis) and many years on the
Bath stage, first as Miss Glassington, and then as
Mrs. Charlton.
Mr. and Mrs. Graham acted Scrub and Mrs.
Sullen — and Miss Mansell made her 1st app. on
any stage in Juliet — she became an actress of con-
siderable repute, and was engaged at D. L. in 1772*
1773.
Mossop, being in possession of both theatres, acted
his Tragedies (which alone brought money) at C. S.
and his Comedies, with the rope dancers, &c at
S. A. — public taste was never more conspicuous
than on this occasion — Tragedies were seldom per-
formed to less than £90 or £100 — while the per-
formers on the rope and wire seldom brought £40—
and often under £S0.
Tamerlane was revived about this time with sue-
cess — Tamerlane = Heaphy : Bajazet = Moesop :
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S. A, AND cs. 1169-1110. 501
Moneses = Clinch : Axalla = Banister: Arpa8ia=:
Mrs. Iltzhenry : — Bajazet was one of Mossop's best
characters.
Mossop having secured the two theatres in S. A.
and C. S. had felt himself in perfect security about
any opposition-* but to his great mortification, Capel
Street was opened in Feb. — his company was vastly
superiour to the other, bat there is no controuling
the caprice of the public, and he was obliged to use
every effort on this occasion — he brought forward
those Tragedies in which he stood unrivalled (par*
ticularly Coriolanus) with pomp and magnificence —
he exhibited Miss Catley in Euphrosyne, which used
to attract— and he revived some of Woodward's po-
pular Pantomimes — ^but all with little effect — his ex-
penses were heavy, his receipts bad, and to complete
the catastrophe, his opponents got the start of him in
bringing out Lionel and Clarissa— Mossop had neg-
lected this Opera, which was then new, whereas if he
had brought it out first at his theatre, with Miss Cat-
ley's fame and abilities, it would probably have been of
great service to him— after it had been played about
three weeks at Capel Street, he advertised it at Crow
Street with this ridiculous distinction— Jenny, the
Chambermaid, by Miss Catley — the other characters
by Mr. Banister, Mr. Heaphy, &c. &c. — it languished
a few nights and was then cut down to a Farce —
which completely finished it in the opinion of every
one.
Mossop closed the season with the most unpleasant
prospects— his health was impaired and his circum-
stances deranged — though the idol of the town as an
actor and not censured as a manager (a thing very
Digitized by VjOOQ IC
502 CAPEL STREET 1770.
difficult to be avoided) he saw himself deserted by
the public, to whose service he had devoted his abi-
lities— a striking lesson to every manager how little
he can depend on that bubble, popularity ! (^Hitch-
cock.)
Wilkinson says that he had seen Mossop bring a
crowded house at Dublin, when his name was the
only one thought of in the bill— but the public, from
the great exertions made at the rival theatres, became
at last so surfeited, that Mossop aided by Mrs. Fitz-
henry and Miss Catley, all combined, have performed
to five pounds.
CAPEL STREET 1770.
This theatre had been shut up for many yean,
and appropriated to other purposes — it was opened
Feb. S6th with False Delicacy, which had not been
acted in Ireland — Col. Rivers = Mahon from C. G. :
Cecil = Herbert : Sir Harry Newburgh = Lewis : Lord
Winworth= Wilkes : (his 1st app. in Ireland) Mc9.
Harley = Mrs. Hoskins from D. L. : Lady Bettjr
Lambton=Miss Ambrose : and Miss MarchmoDt=:
Digitized by VjOOQ IC
CAP£L STREET 1T70. 503
Mi88 Ashmore :— with the Padlock— an occaBional
Prologue was spoken by Lewis.
This revolution was planned and executed with
much address — ^it united the interests of Dawson»
Mahon and Wilkes — Dawson was the stage manager,
and by the experience he had had, was in many re-
spects equal to the task — he was active, industrious,
and intelligent, well acquainted with the world, and
prompt to improve every opportunity, which fortune
might throw in his way.
The theatre was small, but even that was an ad«^
vantage, as it could be fitted up with less expense,
and be more easily filled — it was elegantly orna-
mented— the scenes were new painted, and the ward-
robe, as might be expected, light, but fashionable and
showy.
Curiosity occasioned a crowded house at Capel
Street the first night, and the performances were re-
ceived with the most unbounded applause.
Lewis and Miss Ashmore were the chief support
of this theatre— He was at this time one of the most
promising young actors on the stage, and had sup-
ported a variety of characters with the highest repu-
tation— She had every requisite of face, figure, and
voice, and had begun to attract general notice, as an
actress that was likely to prove of considerable con-
sequence.
Among the parts she was then most noticed in,
were Polly and Lucy— Rosetta— Arethusa in Con-
trivances— Leonora in the Padlock — Patty— Phillida
— Sally — Ophelia— Leonora in the Revenge — Irene
in Barbarossa — Cordelia — Emmelinein King Arthur
—Flora in the Wonder— Portia — Cherry, &c.
Digitized by VjOOQ IC
501 s. A. mo-lTTl.
Lionel and Clarissa was brought out April 2d—
the Clarissa of Miss Ashmore was universally con-
sidered as natural and affecting — and Wilkes in Jes-
samy was excellent— the impression made by this
piece was extraordinary and its effects visible — whilst
Mossop was acting to empty benches or to orders—
an overflow marked every night that this popular
Opera was announced at this theatre— late in the
season as it was brought out, it was acted 26 times.
Dawson closed the season, elated with the success
he had met with, and pleasing himself with the hopes
of its continuance. (^Hitchcock.)
CKeeffe says that there was no regular great*
room to this theatre, and that the back parlour of an
adjacent grocer's shop was hired for that purpose.
S. A. 1770-1771-
Mossop no longer retained Crow Street, but S. A.
was new painted and decorated — it was opened Nov.
26th — L'Estrange (a vile actor) from D. L. acted
Geoige Barnwell.
Ryder, who had been absent from the capital 5
Digitized by VjOOQ IC
8.^.1770-1771. 505
years, was engaged, and made his Ist app. in Sir
John Restless, when he was received with that
warmth of applause which always marked his per-
formance.
He was of infinite service to Mossop, for tho' he
was not able entirely to stem the tide pf popular fa-
vour, which continued to follow Capel Street, yet he
for a time upheld a cause, which, without his assist-
ance, must have sunk under the pressure of accumu-
lated misfortunes.
Ryder was distinguished by the versatility of his
genius — he acted a variety of characters during a
period of 11 or IS years, when it might be truly said,
that he was almost every night before the public —
this season he acted Lionel.
The West Indian was produced and did nothing —
no wonder, as Mossop was absurd enough to act
Belcour himself— this Comedy was acted at this
theatre to houses composed of orders, while at Capel
Street it occasioned an overflow every night. {Hitch*
cock.)
Nothing is more ridiculous than the pitiful am-
bition of a manager, or leading actor, in playing parts
completely out of his line, merely because they hap-
pen to be the best parts in the play — the right cure
for this theatrical madness is not Hellebore, but a
quantum sufficit of hisses.
Cymon had been in preparation for two years, and
was intended to be brought out with great splendour
—-when it was nearly ready, it was vastly puflPed in
the newspapers — and Friday the 8th of March was
announced for its first performance— on the Saturday
night preceding this Friday, Dawson, after the play
Digitized by VjOOQ IC
506 8. A. 1 770-1 T7L
was over at Capel Street, stept forward and gave oat
Cymon for the ensuing Monday — the audience were
astonished, and his own performers could scarcely
credit their senses — ^but he soon convinced them he
was in earnest— for so complete, secret and masterly
were his movements, that not a single article was
wanting in the various requisites — ^without discloeiog
his design, he had gotten a capital set of scenes
painted, and had provided the different dresses from
London — the music had been practised, and all the
parts studied, under the pretence that after their op-
ponents had played it a few nights, he would then
bring it out as a Farce — in short never was a design,
which required so much forethought and address,
better planned or better executed.
On the Monday Cymon was produced according
to promise — the scenery was beautiful — the dresses
according to the original models, and the procession
remarkably splendid — all the performers without es-
ception walked in different characters, and upwards
of 40 supernumeraries filled up the train in proper
habits.
This was a thunder-stroke to Mossop, who beheld
the hope of his long expected harvest blasted and
destroyed— he was not able to bring out Cymon till
after it had been acted 4 times at Capel Street—
and then tho' it was gotten up with great care and
attention, yet as first impressions are not easily
effaced, the public was prepossessed in favour of
the other theatre — uid tho' it was often played at
S. A. during the season, yet it never answered the
expense Cymon = Rjrder : Merlin = Heaphy :
Linco= Wilder : Fatima^Miss Mansell : Dorcas =
Digitized by VjOOQ IC
s. A. 1770-1771. 507
Mrs. Heaphy, late Miss Mason: Sylvia =; Mrs.
Brown, late Miss Slack.
Mossop, thus disappointed in his hopes, harassed
by innumerable vexations, and oppressed with debts
which he had not the least prospect of being able to
discharge, sunk under the weight of his misfortunes,
and a severe illness prevented his appearing on the
stage.
Thus unfortunately circumstanced, he was obliged
to solicit the generosity of the public, and announced
a benefit for himself, in which he was not able to
perform— this took place April lyth. Rule a Wife.
Leon = Heaphy : Perez = Ryder : Estifania = Mrs.
Brown: Margarita = Miss Mansell : — with Cymon
now cut down to an Afterpiece— tho* the house was
much crowded, yet the receipts afforded but a tem-
porary relief— Mossop's affairs were so desperate,
that it was next to impossible to retrieve them.
Much to the honour of the Capel Street managers
they did not oppose the benefit by acting on that
night.
Some few lienefits were taken by the principal
performers, and the theatre closed early in May.
iHitclicock.)
Digitized by VjOOQ IC
508 CAPEL STREET AND CHOW STREET, ITTO-ITTI.
CAPEL STREET AND CROW STREET,
1770-1771-
Dawson, having obtained possession of Crow
Street, transferred from it the title of his Majesty's
Servants to Capel Street — but his hopes increasing
with his success, he removed to Crow Street in
March— during the summer he had engaged Made-
line Clinch and Miss Younge. (^Hitchcock.)
0*Kee£fe says — " the company consisted of Daw-
"son— his step-son, William Lewis — Lawrence Clinch
" — Isaac and Richard Sparks — Timothy Duncan
" (Mrs. Davison's father) — Philip Glenville — John
" Vemel — Thomas Holcroft — and Macklin — the
** actresses were. Miss Younge — Miss Ashmore —
'* Mrs. Price — Miss Ambrose and Miss Leeson/'
(yKeeflfe says nothing of his being engaged him-
self—he is very inaccurate— he does not state in
what year the company at Capel Street consisted of
the above mentioned performers, but he evidently
means in this season.
Dawson opened with the Beggar's Opera and the
Anatomist — about a fortnight after, Miss Younge
from D. L. made her 1st app. in Ireland in Jane
Shore, and met with a very favourable reception —
Hastings = Lewis : Dumont = Clinch : Gloster^
Dawson : Alicia = Mrs. Burden.
Digitized by VjOOQ IC
CAPEL STREET AND CROW STREET, 1770-1771. 509
Macklin appeared in Shylock— on that night
0*Keeffe'8 name stood for Gratiano — Bnd shortly
after he acted Filch— Fribble— Jessamy^ &c.
iVliss Younge and Macklin were of great service
to the caase they espoused — Macklin brought oat
his Love a-la-Mode and True Bom Scotchman —
this Conoedy was acted 7 times — Miss Younge was
Lady Rodolpha.
'Tis well 'tis no worse was performed about this
time. (Hitchcock.)
Hitchcock observes—** the Romp, in which Miss
** Ashmore obtained such reputation, was first acted
** at this period, and has continued to be a leading
** object in dramatic exhibitions ever since" — either
Hitchcock or the bill for Mrs. Mattocks' bt in 1778
is incorrect.
O'Keeffe (vol. 1 p. 168) particularly mentions the
Jubilee as acted in the course of this season — Hitch-
oock represents the Jubilee as not brought out till
1773-1774 — ^but OKeeflfe could not be mistaken on
this point— the Jubilee was perhaps brought out in
1770.1771, and revived in 1773-177*.
The West Indian was brought out Feb. 19— no
time was here lost, as it was only on the 19th of
Jan. that it appeared at D. L. — Belcour = Lewis :
Major O'Flaherty = Dawson : Ensign Dudley =
Clinch : Louisa Dudley = Miss Ashmore : Miss
Rusport = Miss Younge the performers were
greatly applauded, and the same success attended
the piece as it met with at D. L. — it was acted 18
nights.
March 4. Cymon— Cymon = Mahon : Linco =
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510 CAPEL STREET AND CROW STREET 1770-1T71.
O'Keeffe : Fatima = Miss Younge : Sylvia = Miss
Ashmore — acted 9 nights*
Prosperity did not make the new managers^ now
removed to Crow Street, slacken their endeavoars—
they brought over Isaac Sparks, who, after an ab-
sence of 5 years, made his first app. in John Moody
— O'Keeffie calls Isaac Sparks a capital Comedian,
and the greatest favourite the Irish ever had — Sparks
died April 18 1776. (B. M.)
In May Mr. and Mrs. Jackson arrived from Edin-
burgh— she had been absent 5 years — she appeared
for the first time in Polly — and he in Oroonoko—
Hitchcock says they played a variety of parts with
reputation.
But the great treat produced, was Barry, and Mrs.
Barry, late Mrs. Dancer — she made her 1st app.
June 13th in Rosalind, a part in which she was pe-
culiarly happy — Orlando = Lewis : Jaques = Sow-
don, who seems to have joined Mr. and Mrs. Barry
in this expedition.
Barry appeared in Jaffier and was received with
great applause — Mr. and Mrs. Barry afterwards act-
ed Othello and Desdemona — Lear and Cordelia --
Lord and Lady Townly — Rhadamistus and Zenobia
— Alexander and Statira — Alwin and Countess of
Salisbury — Varanes and Athanais — Antony and
Cleopatra — Romeo and Juliet— with which play the
theatre closed Aug. Sd.
Miss Younge returned to England early in Jane,
highly pleased with her trip, in which she acquired
both fame and profit.
Some few nights before the conclusion of the sea-
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S.A- 1771-1772. 511
SOD, Richard Sparks, son to Isaac Sparks, made his
Ist app. in Lord Townly — his youth and figure
pleased much, and the partiality of the public for
the father operated in favour of the son, {HUch^
cock.)
S. A. 1771-1772-
Mossop, somewhat recovered in his health, had
embarked for England after the condusion of the
last season, with a view to procure reinforcements
for the ensuing winter — while he was in London,
Graham one of his own performers laid on him the
first arrest — which was speedily followed by detain-
ders from others, and he was confined in the King's
Bench without any prospect of release.
Another benefit for him at S. A. was fixed on by
his friends previously to the commencement of the
season — an Occasional Prologue was spoken by Ry-
der, who did every thing for him that friendship
could suggest, and the nature of his situation would
admit of— the play was the Orphan, and never was
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512 s. A. 1771-1772.
there a more crowded house — the amount however
was still inadequate to the end proposed, and as there
was a great overflow, the play was repeated two
nights after, with this addition to the bill — << It is
** humbly hoped that the Nobility and Gentry will
<' still exert themselves, and bring to his native
** country one of the best theatrical performers now
« living."
Preparatory to his benefit, an advertisement had
appeared, in which it was stated among other things,
that the oppression he had met with, was chiefly
from persons of his own profession— (^^t^Acoci) —
Mo8sop*s friends complained with an ill grace of the
oppression he met with from his performers, whom
he had oppressed himself, by frequently losing at the
gaming table the money with which he ought to have
paid them — was this a proof of the rectitude of in-
tention, which Davies attributed to him.
All the well meant e£forts of Mossop's friends
were ineffectual— so great and various were his debts,
that, after a severe confinement, he was at last obliged
to take the benefit of an act of bankruptcy, before he
could regain his liberty — this happened in Jan. 1772
— Garrick attended at Guildhall and proved a debt
of about £200.
In the mean while his friends in Ireland were
fietr from deserting his cause— he had another benefit
March 23d, when Mrs. Fitzhenry kindly offered her
services and played Zaphira — the emoluments, tho'
considerable, proved only a temporary relief. (Hitch^
cock.)
Mossop, on the recovery of his liberty, tho' not
a little impaired in his health, had still vigour enough
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s. A. 1771-1772. 513
left to have gained a good income with reputation to
himself, and profit to any manager, who shoald have
employed him —but here his obstinacy and haughti-
ness prevented his gaining that situation to which
his merit entitled him— he had a dry reserved man-
ner, and wanted the art of conciliating the minds of
such as could befriend him — notwithstanding this,
his simplicity of disposition and rectitude of intention
induced many to wish him well*— he was advised
to make application to Garrick — this he perempto-
rily refused, saying that Garrick knew he was in
London — by which he plainly intimated that a pro-
posal ought to come first from the manager, but as
nothing offered of that kind, he accepted the invita-
tion of a friend to accompany him in a tour on the
continent —he returned in about a year after to Lon-
don, much emaciated in person, and seemingly low-
ered in spirits.
It was his misfortune to be continually hurt by
the improper interposition and wrong advice of men
who called themselves his friends— some of whom at
the lime when he was engaged at D. L«, were con-
tinually instilling into his mind that Gamck kept
him in a state of inferiority— and now when it was
of infinitely more consequence to him to be engaged,
than it could be to Garrick to engage him, an in-
judicious friend published a pamphlet in which Mos-
sop's powers of acting were set forth in a very strik-
ing manner, and an invidious comparison made of
the decaying faculties of Garrick — a worse method
could not possibly have been thought of to conciliate
Garrick, or obtain Mossop an engagement — this
attempt failing, he was soon after in treaty with the
VOL.X. h L
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514 8. A. 1771-1772.
managers of C. G., who were willing to employ a
man of his merit, and one who could act in many
plays with Barry, and by his weight give new fcnroe
to several Tragedies.
It has been peremptorily said that a very celebrat-
ted actress* refused to act in any play with Mossop
— ^this was an unexpected blow to one so greatly
depressed — however he endeavoured to recover his
spirits, and sent word to the managers, that he was
ready to go on the stage with any actress they
thought proper— they returned for answer, that their
business was now so settled, that it was not in their
power to employ him — he died a few days after of
a broken heart and in great poverty, in Nov. I77S —
he was then about 44^ years of age — Garrick pro*
posed to bury him at his own expense, but Mossop's
uncle prevented that offer from taking place — QDa-
vies*)
What Davies here says of its being the intention
of the managers at C. G. to have Barry and Mossop
act in the same plays, seems to be said at random,
as Barry did not leave D. L. till several months after
Mossop*s death — it may even be doubted, whether
there was any negociation between Mossop and the
manager of C. G. — Gentleman (in his preface to
the Modish Wife) says, that two days before Mossop
was imprisoned, he asked him why he did not en-
gage himself at D. L, or C. G. — Mossop observed
that Mrs. Yates was the only actress suited to him.
* Mrs. Barry.
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». A. 177l-n72, 515
and that she was at C. G. — that there was a parti-
cular reason why he could not be where Caiman was
manoffer— and that he was indifferent about an en-
gagement—Gentleman suggested that he might easily
obtain a license for 6 nights at Foote's, by which he
might clear at least £500 — Mossop replied thus
** old schoolfellow and friend, I would not appear at
" Foote's theatre to clear £1000 in the time you
'* mention" Mossop died before Colmaii retired
from the management of C. G.
Mossop's figure was good, but he wanted ease
and grace — his voice was strong, manly and of great
compass, without the melody of Barry, but har-
monious from the lowest note to the highest eleva-
tion— he was utterly unfit for love or tenderness,
but in scenes of rage and terror he rose beyond con-
ception—in sentimental gravity, from the power of
his voice, and the justness of his conceptions, he was
a very commanding speaker.
In the Duke in Measure for Measure he was never
excelled --in Richard the 3d he was inferiour only
to Garrick — in this character the awkwardness of
his action and the untowardness of his deportment
were well concealed— in Pierre be was excellent—
in Caled he acted with that force, fire and fury which
the character demanded— in Memnon he was vener-
able and intrepid — in fiajazet and Coriolanus there
were many passages that astonished every body —
Zanga was his master-piece — his burst of perfidy,
acknowledged and justified in the 5th act, was
one of the finest pieces of acting on the stage.
(^Davies.J
L L 2
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516 S.A. 1771-1772.
The Dramatic Censor says he was the best Sem-
pronius and Marcian he ever saw — Mossop, think-
ing the latter part beneath his notice, acquired an
ease, which he wanted in more important characters
— in light Comedy he totally failed, even his Lord
Townly was very bad.
Charchill speaks of his *' studied impropriety of
*' speech" — and the D. C. says bis enunciation was
encumbered with unnecessary and multiplied em-
phases.
Hitchcock is more warm in Mossop's praise than
any body else— he tells us that his countenance was
marking, his eye expressive, and his action latterly
much improved— he contends that the decided sense
of the critics at Dublin warrants his assertions and
that there were a thousand living witnesses of the
truth of what he says — he adds that M ossop (besides
the parts already mentioned) excelled in King John
— Chamont— Zamti— Achmet — Ventidius— Cato —
Macbeth — Hotspur— Osman — Horatio — Dumont—
Wolsey— lago — Prospero — and many other cha-
racters.
There is no doubt but that the best of Mossop^
acting was exhibited at Dublin — but Hitchcock's
judgment is not always to be relied on — for instance
he compliments Bany on his Macbeth, and Mossop
on his Achmet— two parts in which they are said
to have notoriously failed— nor is it easy to conceive
that Mossop played Chamont well.
Davies observes that Garrick knew Mossop's
worth, and endeavoured to set him right, by en-
couraging him to act such characters as nature had
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s. A. 1771-1772. 517
designed him for — but that he was led astray by
flattering and injudicious acquaintance.
O'Keeffe says — '< an itinerant showman having
" brought a wonderful monkey over to Dublin,
** Mossop hired it for a certain number of nights, at
'< a sum equal to any of his best actors, and upon
<< those nights some Tragedy was performed, wherein
*' he himself was, of course, the principal — Mossop's
*< name in the playbills was always in a type nearly
<< two inches long --the rest of the performers' names
*' very small, and that of the Monkey the same
''size as Mossop's, so that in the large playbills
** pasted about the town, nothing could be distin*
" guished but " MOSSOP," " MONKEY"— when
'^ he saw the bills, he good-humouredly laughed at
« it himself."
*^ In Zanga, Coriolanus, and the Duke in Measure
** for Measure, Mossop was unrivalled — his port was
*^ majestic and commanding— his voice strong and
*' articulate, and audible in a whisper— a fine speak*
** ing dark hazel eye— his excellencies were the
** expression of anger and disdain — in the former
« terrific."
<* I was one night in the green-room, with many
** others, when Mossop, ready dressed for Achmet,
*' in Barbarossa, accosted Cristy, his treasurer, (who
** was just come in from the street) in these words
** — * Mr. Cristy, does it snow ?' Cristy, not comnre-
** bending the cause of the manager's question, hesi-
<' tated, upon which, Mossop repeated calmly and
«« deliberately, * does it snow. Sir ?* Cristy still gave
** no answer — when Mossop, a third time asked,
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518 8. A. 1771-1772.
" * pray does it snow ?' — a great deal of what is
<< called hummiDg and hawing followed on the part
<^ of the treasurer, but no decisive answer, upon
*< which, Mossop addressed him in his loffcy and
" superb manner — * do you know what snow is? —
'* snow is a small white feathered thing, that falls
** from the clouds, and lies upon the ground like a
<< white sheet — now be so obliging as to step into
" the street, and bring me word whether it snows*
<< — Mossop*s anxiety arose from doubts of the state
*< of the weather, well knowing that on that depended
" a full or an empty house/'
** Mossop was most rigid at rehearsals — one
^' day as he was going through Macbeth's speech, in
** which he calls for Seyton three times, the actor,
** who was to play Seyton, spoilt the scene by enter-
^^ ing before he ought to have done — he was fined
<< 4 or 5 times— but no one pitied him; it being
<* in his own power, by simply reading Macbeth's
<^ speech, to have known his proper cue/'
** I was one night witness to an untoward cir-
" cumstance — the Mourning Bride was the Tra-
« gedy — Mossop, Osmin, and a subordinate actor,
<< Selim — Selim being stabbed by Osmin, should
** have remained dead on the stage, but seized with
** a fit of coughing, he unluckily put up his hand
** and loosened his stock, which set the audience in
<^ a burst of laughter — the scene over, the enraged
'< manager and actor railed at his underling for
'< daring to appear alive when he was dead,
<< who, in excuse, said he must have choked, bad
<< he not done as he did — Mossop replied, ' Sir,
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8. A, 1771-1712. 519
<< you should choke a thousand times, rather than
" spoil my scene' ** It is Zara, and not Osmyn,
who stabs Selim.
Mo8sop*8 Characters.
S. A. 1749-1750. Zanga— Cassius— Polydore—
Gloster in Jane Shore — Ribemont in the Black
Prince.
1750-1751. Richard the 3d.
D. L. 1751 -175s. Bajazet — Horatio in Fair
Penitent — Theseus in Phsedra and Hippolitus —
Orestes — Macbeth — Pembroke in Lady Jane Gray
—Othello— Wolsey.
I752-I753. Pierre — Comus — Dorax in Don Se-
bastian— *Lewson in Gamester — ^Perseus in Bro-
thers.
1758.1754. *iBnobarbus in Boadicea— Dumont —
King John — * Appius in Virginia — Osman in Zara—
^Phorbas in Creusa.
I754-I755. Coriolanus — *Barbarossa — Duke in
Measure for Measure.
S. A. 1755- 1 756. Achmet in Barbarossa.
D. L. 1756.1757. Double Dealer — Osmyn in
M. B.— Cato.
I757-I758. Prospero — Young Bevil — Aletes in
Creusa— Publius in Roman Father — *Agis in ditto
— Hamlet— Hastings.
1758-1759. Elder Wou'dbe in Twin Rivals —
Caled in Siege of Damascus — ^sop — Memnon in
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520 S.A. 1771-1772.
Ambitious Step-mother — * Etan in Orphan of
China.
C. S. 1759-1760. lago — Ventidiu8 — probably
Kitely.
S. A. 1760-1761. Zamti in Orphan of China —
as Timon of Athens was revived, he probably acted
Timon.
1761-1762. Leon.
1763-1764. Probably Brutus and Old Batchelor.
1765 or 1766. Carlos in Like Master Like Man.
1767-1768. Archer.
1770-1771. Belcour.
* Originally.
He is said to have acted Lord Townly — Chamont
— Hotspur— Sempronius — Marcian.
He no doubt acted several other characters in Ire-
land.
S. A. opened under very discouraging circam-
stances, and was chiefly supported by Ryder — Mrs.
Ryder likewise played Clementina — Constance —
Lady Macbeth, &c.
Mr. and Mrs. Jackson were of service and pw-
formed a variety of characters — Cumberland's
Brothers was acted — and afterwards the Grecian
Daughter, for Mrs. Ryder's benefit May 14.
Every exertion seems at this time to have been
made by both managers — but with little effect —
novelty had lost its charms and variety its power —
even the Russian Dogs in a Pantomime, and the
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CROW STREET 1771-1772. 521
Elephant, introduced at S. A. in the Coronation in
Henry the Stb, could not draw«
The public were now, with much reason, heartily
tired of the unceasing contentions between the rival
theatres, which produced no good effect, and to
which there seemed to be no end — many unpreju-
diced and dispassionate persons united in the idea
of applying to Parliament for establishing one thea-
tre only ^— Sheridan wrote a pamphlet to prove the
necbssity of this measure — a public meeting was
called for the purpose — but the contrariety of
opinions which prevailed, prevented any thing from
being done. (Hitchcock.)
CROW STREET 1771-1772.
The industry of Dawson and his partners kept
pace with their success — Dawson, tho' detained by
various reasons till it was late, set off for London in
Oct. — his principal object was to conclude an en-
gagement with Macklin — this was effected, and the
theatre opened Nov. 11th with the Provoked Hus-
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5Q^2 CROW STREET 1771-1772.
band. Lord Townly = Sparks Jun. : Manly =
Heaphy : Count Basset = Mahon : Squire Richard-
O'Keeffe : Sir Francis = Macklin : Miss Jenny =
Miss Ashmore: Lady Grace = Miss Hearne : Lady
Wronghead = Mrs. Heaphy : Lady Townly = Mrs.
Lee, late Mrs. Jeffries of D. L., her Istapp. : —with
Devil to Pay. Jobson = I. Sparks : Nell = Miss Ash-
more.
Sheridan engaged for 6 nights, and acted Cato—
Hamlet — Richard the 3d — Lear, &c. (Hitchcock.)
Sheridan in a letter to his son Richard — dated
Dec. 7th, 1771— says— " Nothing can be oonceived
<< in a more deplorable state than the stage of Dublin
« — I found two miserable companies opposing and
<< starving each other — I chose the least bad of them
*^ — and wretched as they are, it has had no effect
<^ on my nights, numbers having been turned away
** every time I played, and the receipts have been
** larger than when I had Barry, his wife, and Mrs.
<<Fitzhenry to play with me— however, I shall not
*^ be able to continue it long, as there is no possi-
<< bility of getting up a sufficient number of plays
« with such poor materials— I purpose to have done
<< the week after next." (JR. JS. Sheridan^s LifeS)
Lewis at this time supported a very extensive line
of business both in Tragedy and Comedy with great
ability.
Vandermere made his 1st app. in Lord Ogleby
and proved a Comedian of considerable merit —
(Hitchcock) — when Foote brought out his Lame
Lover at the Haymarket in 1770> Vandermere acted
Seijeant Circuit — the Dramatic Censor doubts
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CROW STREET 1771-1772. »52}
whether any performer at D. L. or C. G. could have
acted the part better, except Yates.
Miss Ashmore was also a particular favourite with
the public — in the spring she married Richard
Sparks.
The managers having a very good company, it
seemed an easy task to preserve the popularity they
had acquired, yet so little is the public favour to be
depended on, that notwithstanding every exertion
and attention, the audiences began to decline, and
the receipts to experience^a visible decrease.
Hitchcock says *' the established reputation which
*< Cumberland's West Indian^had obtained, rendered
<< his next Comedy of the Brothers a desirable object
** for both parties— each strove to bring it out first, but
*« S. A. produced it one day before Crow Street— as
** it did not possess the intrinsic merit of the former,
''its success was proportionably inferiour — it was
'< played 10 or 12 nights at each theatre without any
'< reason to boast of its attraction" — here Hitchcock
is very incorrect— *the Brothers came out at C. G. in
Dec. 1769— the West Indian at D. L.in Jan. 1771— i'
Hitchcock be right about the time when the Brothers
was played in Ireland, it was probably n^lected at
first, and afterwards brought forward on account of
the success of the West Indian.
The Grecian Daughter was acted for Dawson's
benefit. Euphrasia = Mrs. Sparks.
Macklin finished his engagement with Sir Paul
Flyant and Sir Archy Macsarcasm — he returned to
London, taking with him his pupil. Miss Leeson,
whom he had this season introduced on the stage —
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524 CROW STREET 1771-1772.
she was afterwards married to Lewis, and proved bat
a poor actress.
Wilkinson once more visited Dublin, and made
his Ist app. in Capt. Ironsides and Major Stui^eon
— be remained about a month, and acted Col. Old-
boy— the Upholsterer*— Lord Ogleby— Shift — Smirk
and Mrs. Cole— Cad wallader — the Commissary —
Colin Macleod— Golcondus, &c. ^Hitchcock.)
Wilkinson in his Wandering Patentee mentions
his trip to Ireland — his bt. was May 28th — ^the Bro-
thers. Young Belfield = Lewis: Sir Benjamin
Dove=yandermere : Skiff = O'Keeffe: Sophia =
Mrs. Sparks : Lady Dove = Mrs. Heaphy : with
Commissary, and Tragedy a-la-Mode he says
that Mrs. Sparks somehow or other afterwards fell
off in her popularity — on May 4th he saw her play
Juliet to Lewis' Romeo.
He went one evening to S. A. to see a Pantomime
which concluded with a dance — Miss Archbold, the
principal dancer, had on, as usual, only a short petti-
coat and a pair of drawers — as she was capering op-
wards with great agility, her petticoat fell down — she
jumped round, as swift as lightning, and stooping to
retrieve her lost petticoat, she presented another part
so perfectly exposed to the eyes of the audience, that
Wilkinson really thought men, women, and children
would have died with laughter— *it was highly neces-
sary to let the curtain immediately drop, and relieve
Miss Archbold from her distressed situation and lack
of garments— it was some time before the audience
* He usually acted Raior.
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S.A. 1772-1773. 525
recovered from their continued impulse of laughter,
nor would they leave the theatre, till the band played
them out with the well known old tune called <* Pet-
*• ticoat Loose.**
S. A. 1772-1773.
Ryder became manager of this theatre— he was at
the time in the prime of life, and a great favourite
with the public, by whom he was urged to the pre-
sent undertaking— he prevailed on Mrs. Sparks to
quit the adverse party, and opened so early as Sep.
with an Occasional Prologue— the bill was as follows
— She wou'd and she wou*d not. Trappanti = Ry-
der, 1st time : Don Manuel = Isaac Sparks : Don
Philip = Sparks Jun. : Hypolita = Mrs. Sparks Jun.,
1st time :— rwith Virgin Unmasked. Coupee =: Ry-
der : Blister = Isaac Sparks : Miss Lucy ^ Mrs.
Sparks Jun.
N.6. the house is fitted up and repaired in the
most elegant manner, and will be lighted with wax
— and as Mr. Ryder has been at the expense of co-
vering the benches of the pit witii green cloth, he
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5^6 8. A. 1772.1773.
humbly hopes no person will stand on them — Ladies
will be admitted into the Pit as in the London
theatres.
For upwards of six weeks, Ryder had the town
entirely to himself, and improved this opportunity to
the utmost.
In the course of the season, Pratt, better known
as Courtney Melmoth, made his Ist app. on the stage
in Antony in All for Love — he afterwards acted Pub-
lius Horatius—Lusignan — Alwin— Jaffier and some
few other characters— he was tall and genteel in his
figure, easy in his deportment, a sensible speaker,
but deficient in powers and force.
He played Castalio for his benefit and introduced
Mrs. Melmoth on the stage as M onimia— she had a
beautiful figure with a remarkably sweet voice, and
gave hopes that she would prove a valuable actress —
they were engaged at C. G. in 1774*1 775.
Wilkes, who had been absent 3 years, came for-
ward in his favourite character of Jessamy, and gave
new fashion to Lionel and Clarissa.
The Irish Widow, at this time acted with great
applause at D. L., was produced at both theatrM on
.the same night^-at Crow Street it was acted only
some few times, but at S. A. it was exhibited every
Wednesday for upwards of 18 weeks to crowded
houses — this was owing to Mrs. Sparks' performance
of Mrs. Brady.
Tragedy at this theatre was respectably supported
by Sheridan, Jackson, Kyder (the most general act<v
living in Tragedy, Comedy, Opera, or Farce) — Mrs.
Fitzhenry — Mrs. Jackson — Mrs. Sparks.
The favour Ryder enjoyed seemed to quicken his
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s, A. 1772-1773. 527
exertions, and such a number of new and revived
pieces were brought forward in rapid succession, as
evinced his activity and industry.
A new Comedy called the South Briton was pro-
duced, but without success-«-it was not printed till
Jan. 1774— Mowbray = Owens and O'Keeffe : Sir
Terence CVShaughnesy = Ryder : Capt. Egerton =
Hallion and Miel : Leslie = Sparks Jun. : Egerton =
Waker and Sparks : Admiral Swivel = Parker : Is-
8acher= T.Jackson: Donald iVlac Pher8on=: Wilder:
Strap =:Deathe and Vandermere : Henrietta Egerton
=Mrs. Sparks : Elfriday Audley = M rs. Lee : Jenny
= Mrs. Durravan and Mrs. Price : Mrs. Omel =
Mrs. Brown :— for the plot see C. G. April 1^ 1774.
The Patriot King, or Irish Chief, came out in
April. Ceallachan (King of Munster — in love with
Stira) riMelmoth : Sitrick (Chief of the Danes in Ire-
land) = Sparks Jun. : Duncan (friend to Ceallachan)
= Wilmot: Pharon (General to Sitrick— in love with
Stira) = Kane : Stira (in love with Ceallachan) =
Mrs. Sparks : Beda (wife to Sitrick— secretly in love
with Ceallachan) = Mrs. T. Barry : — scene Dublin
and the adjacent country — this is a cold, uninterest*
ing T. without any gross fault — Sitrick, with a
treacherous view, offers his sister Stira in marriage
to Ceallachan— the offer is readily accepted — but
Ceallachan and Duncan on their road to Dublin are
taken prisoners by Pharon, and thrown into a dun-
geon— Sitrick offers to release Ceallachan, if he will
give up the principal towns of strength in his domi-
nions—this he refuses— Sitrick insists that Stira
should marry Pharon— she swallows poison as she
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528 s. A. 1772-1773.
supposes, but it proves to be only an opiate— Dun-
can makes his escape, joins his countrymen, and
attacks the Danes with success— Sitrick and Pharoa
are killed — Ceallachan is united to Stira— Dobbs
in his advertisement says, that he made alterations
in bis play before he printed it — in particular, he
added the character of Cleones, and kept Stira alive
— the catastrophe was formerly unhappy, as Stira was
really poisoned.
She Stoops to Conquer was brought out at both
theatres the latter end of April, but with no great
success at either.
In May Miss Catley, who had been absent three
years, returned, and acted, if possible, with increased
attraction — she performed Rosetta three times-
Polly once — took a benefit and finished with Euphro-
syne.
This very long and successful campaign closed
with eclat equal to its commencement— *Mr. and
Mrs. Barry, in company with F. Aikin, arrived in
Dublin in June — owing to some dispute with Daw-
son, who was still in possession of Crow Street, and
who, according to every information, was treated
unfairly, or rather cruelly, they performed a few
nights at Ryder's theatre, but upon Dawson's relin-
quishing C. S. they removed thither, where they
finished the latter end of July with much advantage
to themselves, and emolument to the manage.
(Hitchcock.)
Hitchcock is here so concise, that it is not quite
clear what he means — Barry was perhaps still joint-
proprietor of Crow Street — Mrs. Barry's nephew
Digitized by VjOOQ IC
caow STREET 177^-1778. 529
and executor told me, that she had at her death
some claims od that theatre, which he did not think
it worth while to pursue.
CROW STREET 1772-1773.
Dawson found it impossible to open before Nov. 9th,
when the West Indian and Midas were performed
with little prospect of success — however he did all
he could in such a situation — an engagement with
Macklin and Miss Leeson was announced, and early
in the season he brought forward Mr. and Mrs. King
from York — where she was esteemed equal to any
actress on the stage— she had a tall, commanding,
and elegant figure, an expressive countenance, and a
Btrong forcible voice, but she was devoid of those
delicate touches of nature to which Mrs. Barry had
accustomed the Irish audience.
Her choice of character was judicious — the Grecian
Daughter afforded her an opportunity of displaying
her figure and powers to advantage — from her great
reputation much was expected, and tho' she did not
VOL. Z MM
Digitized by VjOOQ IC
530 s. A. l77S-lT74b
entirely answer that expectation, yet she juroved a
valuable support to this th^tre both in Tragedy and
Comedy— Mandane — Rosalind — Lady Townly —
Viola — Sir Harry Wildair — Beatrice, &c were
among the many characters she performed — see
D. L. Oct. IS 1775.
Ring's abilities were much more confined— as they
lay chiefly in the line in which Lewis was decidedly
superiour, he seldom performed.
Macklin and Miss Leeson followed— but tho' he
was in great estimation, yet his attraction was oyer
— and, as is often the case in theatrical affairs, merit
was obliged to give place to novelty.
Dawson seems to have had an unsuccessful season
— and at the close of it to have been deprived of
Crow Street theatre. (Hitchcock.)
S. A. 1773.1774-
Ryder opened Sep. 27th with She Stoops to Con-
quer and the Miller of Mansfield — his prospects at
this time were such as might justify the most san-
guine expectations — the ill success of his competir
tor and his being deprived, though unjustly, of Craw
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8, A. IttS-HTi. 531
Street, rendered him apparently no very formidable
rival— the favour of the town, which so eminently
distinguished S. A. last season, continued — and She
Stoops to Conquer, which among the benefits last
season, had not a fair chance, was generally played
once a week — ^Lionel and Clarissa, with the Irish
Widow, were acted every Wednesday for some time.
Mr. and Mrs. Miel came from Norwich — they
made their first app. in Archer in the Stratagem, and
Diana in Lionel and Clarissa — they met with tole«
rable success.
Hitchcock's own Comedy of the Macaroni (see
Hay. Sep. 1773) which he says he wrote at York
in the summer 177^9 when he had little knowledge
of the Drama, and which had been acted in most of
the prorincial theatres in England, was brought for*
ward and performed some few nights.
Foote arrived in Nov. with Mrs. Jewell — their Ist
app. was in the Maid of Bath, which had never been
acted in Ireland. (^Hitchcock.)
To the Nabob there is prefixed a Prologue spoken
by Foote at Dublin Nov. 19 1773.
" Upwards of twenty years are fled and wasted,
<< Since in this spot your favour first I tasted.
'< But should infirmities with time conspire,
<< My force to weaken, or abate my fire,
'< Less entertainment may arise to you,
<< But to myself less danger will ensue.
<< If age contracts my muscles, shrills my tone,
** No man will claim those foibles as his own ;
** Nor if I halt or hobble thro' the scene,
^* Malice point out what citizen I mean :
MM 2
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5S2 s. A, 1T73-1774.
*' No foe I fear more than a legal fury,
*< Unless I gain this circle for my jary,**
Foote had lately written a little piece in one act,
called << Piety in Pattens," to ridicale the sentimental
Comedies, at that time getting into a kind of fashion
— it had only three characters, the Squire, the But-
ler, and Polly Pattens— the latter was played by Mrs.
Jewell, a very handsome and pleasing actress, and a
good singer — the piece consisted of the most trifling
and common-place thoughts, wrapped up in a bundle
of grand phrases and high-flown words — and had its
full effect as a laughable burlesque on forced senti-
ment—O'Keefie was in the house the first night of
its performance in Dublin — the dialogue went on
smooth enough, until it came to a part where Polly
had to sing a song — here was a full stop, she repeated
the last words very often, but not one note firom a
fiddle, or tinkle from a harpsichord, followed — dis-
tressed and confused, Mrs. Jewell walked to and fino^
still looking at the leader of the band, and making
signs to him to play— but he muttered, and aeemed
not to understand her — Foote, who had been watch-
ing behind the scenes, attentive to the effect of his
sarcastic Drama upon his auditors, at length limped
on, walked over to the orchestra, and in an axigcf
tone asked the first fiddle why he did not strike op
the symphony of the song ?— the vexed musician an-
swered—" we've no music I" — Foote instantly, in his
own peculiar humorous manner, came forward and
addressed the audience — " ladies and gentlemen—
<< sorry for your disappointment, but the cause is
** explained — there's no music in the orchestral — ^tfais
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n.A. 1773.1774. 533
raised a general laugh in the whole house, at the ex«
pense of the musicians, who, however, were really not
in fault, as Mrs. Jewell had rehearsed her song that
morning at the harpsichord in the green-room, in-
etead of on the stage, and the person whose office it
was, had neglected to distribute to the band the ac*
csompaniments, and even the leader of the band did
not know there was a song in the piece— (^O^Jiu?^^
— Foote afterwards went through his usual routine of
characters, but did not add much to the receipts of
the treasury— his benefit was a good one— the play
was the Bankrupt.
Sheridan and Mrs. Fitzhenry, who had renewed
their engagements with Ryder, were kept back as a
corps de reserve— the latter end of Nov. Fleetwood,
from the Hay., made his 1st app. in Tancred, and
during the season played a variety of characters,
principally in Tragedy, with increasing' reputation.
The School for Wives, then new, was brought out.
General Savage = Heaphy : Bel ville = Wilkes : Tor-
rington = Vandermere : ConoUy = Ryder : Capt.
Savage = Fleetwood: Leeson = Sparks Jun. : Spruce
= 0'Keeffe : Miss Walsingham = Mrs. Sparks : Mrs.
Belville = Mrs. Fitzhenry: Lady Rachel Mildew =
Mrs. Lee : Miss Leeson = Mrs. Miel : Mrs. Tempest
= Mrs. Brown.
The Deserter was favourably received. Skirmish
= Vandermere: Louisa = Mrs. Sparks.
Cymon was produced afresh, and brought several
good houses— -Cymon = Ryder : Linco = Wilder :
Merlin = Mahon : Dorus = Vandermere: Sylvia =
Mrs. Ame: UrgandarrMrs. Pinto: Fatima=:.Mr8.
Sparks.
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584 8. A. 1773-1774.
Waddy made his Ist app. in Philotaa— he after-
wards acted — Damont — Dake in Measure for Mea-
sure— Menes in Sethona — Cassius— & several other
parts with reputation.
Ryder disgraced his theatre by exhibiting the Cor-
sican Fairy in the Coronation in Henry 8th — but he
made some amends afterwards by engaging several
of the London principal performers towards the
close of the season.
Dodd and Mrs. Buikley made their first app. in Be*
nedick and Beatrice — when, notwithstanding their
theatrical merit, they had the mortification to expe-
rience neglect and inattention — nor was the case
much better with Smith and Mrs. Hartley — his Ist
character was Richard the Sd— this ill success Hitdi-
cock attributes to the connexion between the parties
not being (as he squeamishly expresses it) of the
most moral nature— it is notorious that Dodd and
Mrs. Buikley lived together for several years — and
that Smith had just left his wife and run off with
Mrs. Hartley — but what was all this to the Public ?
The superiour attraction of Mr. and Mrs. Barry
might contribute likewise to the neglect the other
London performers sustained, it having been always
experienced in Dublin, that but one object of fitvoor
can be supported at one time — Mr. and Mrs. Barry
made their 1st app. in Lear and Cordelia, and were,
as on a former occasion, assisted by F. Aikin— -they
played most of their favourite characters, and gave
the Grecian Daughter a popularity, which it had
never been able to obtain before.
The theatre closed July 16 with the benefit of
Mr. William Barry, treasurer— it proved one of the
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S.A. 17TS-1774. 535
most splendid seasons ever known^ and the most
profitable to the manager.
In the course of the season, 0*Keeffe brought
out his Tony Lumpkin in Town for his benefit—^
{Hitchcock) — see Hay. July 2 1778.
O'Keeffe, in his Recollections, says very little of
himself as an actor — on his return to Dublin in the
spring of 1779> he had no concern whatever with
any of the theatres, but, at the request of many
ladies of high rank, he acted Jessamy for Michael
Kelly's bt. — O'Keeffe's Jessamy had been highly
thought of by the public, when he acted the part at
Capel Street. ( O'Keeffe vol. 1 p 393.)
Kelly says— vol. 1 p. 14 — " In 1779 a third thea-
<< tre had sprung up in Fishamble Street, under the
^< Lord Mayor's license — the managers were Yan-
" dermere and Waddy, who had deserted from S. A.
^* and taken with them a large portion of the com-
" pany — to oppose them, Ryder brought over Mi-
'' chael Arne to produce Cymon — his wife per-
<< formed in it, and it brought great bouses * * Ryder
** entered into, a fresh engagement with Arne and his
<< wife for three nights — they thought that I might
<^ be an additional attraction, and proposed to my
*^ father that I should play Cymon the 3 nights,
^< and choose any character I pleased for the 4th|
<^ which should be given to me free of ail expense,
<* as a remuneration * * I played Cymon 3 nights,
«^ and on the 4th, Lionel, (or, proparly speaking,
<< Master Lionel,) for my own benefit — the house
" was crowded in every part— I was successful in nay
^ songs, and acted the part decently, recoUectii^ weH
^< all the points Webster had given in it— the Opera
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536 8. A. 1778-1774.
^* was oast thus— Lionels Master Kelly, (being the
<< last night of his appearing on the stage previoas to
^^ his going to Italy :) Sur John Flowerdale = Hea-
*< phy : Jessamy =:0'Keeffe : Hannan = Glenville :
<< Col. 01dboy = Wilder : Jenkins = Barrett : Lady
" 01dboy=:Mrs. Heaphy : Diana = Miss Jameson :
< * Jenny = Miss Hsdal : Clarissa = Mrs. Ame.'*
Thomas Sheridan was engaged at C. G. in 177^-
1776 — he seems not to have acted after that time —
he is said to have been stage manager at D. L. when
his son became one of the Patentees — in Lent 178^»
he and Henderson gave public readings at Free-
mason's HalL
No performer ever conceived his author better, or
marked him more correctly than Sheridan, but his
voice and person were bad, his manner studied and
his action apt to be extravagant— his stage love was
the worst that ever wounded the ear — in Horatio
and Pierre he was superiour to any actor on Ae
stage—in Hamlet he stood next to Garrick— -in Cato
he wanted face and figure, but he spoke the part un-
exceptionably — in Jaques, Brutus and Zanga he was
very good— in Richard he displayed much judgment
— in Macbeth he made an astonishing use of his
limited powers — in the dagger scene he stood in a
respectable degree of competition with Garriek, and
perhaps no actor ever spoke the words ^* this is a
'< sorry sight*' better — in the last 3 acts he radier
failed — in Othello his conception was good, but his
Digitized by VjOOQ IC
s. A. 1773-1T74. 537
execution bad — in lago he was excellent in the soli-
loqaiesy bat wanted ease and insinuation in the dia-
logue— he was a good Shylock — equAl to Macklin
in the Ist act, but inferiour to him in the 3d and 4th
^in Tamerlane he spoke with great propriety,
but in his appearance and deportment he fell very
short of Quin— in Lord Townly he was sententiously
pedantic — for Young Bevil — Varanes — Chamont
and Polydore — Osmyn and Faulconbridge he had
scarce a single requisite — in gay Comedy he failed
most miserably. (Dramatic Censor 1770*)
Churchill is in some respects severe on him, but
still allows him great merit.
R« B. Sheridan, in a conversation with Kelly,
dwelt particularly on his father's acting in the part
of King John, and <' without partiality," he said,
^* his scene with Hubert was a master-piece of the
'< art — no actor could ever reach its excellence'* —
he also spoke in very high terms of his father's Cato
and Brutus. (Kelly.)
Sheridan^s characters.
S. A. 1742.1743. Richard Sd — Mithridates —
Hamlet — Brutus — Carlos in Love makes a Man —
Lord Townly— Cato.
In 1743-1744 he acted the first part of the season
in Ireland and on March 31st he made his Ist app.
on the English stage at C. G. in Hamlet— he after-
Digitized by VjOOQ IC
538 «. A. 1773-1174.
wards acted Richard the Sd — Lord Townly — Mac-
beth and firutus.
D. L. 1744-1745. Horatio in Fair Penitent-
Pierre — Tamerlane — •Siffredi in Tancred and Si-
gismunda — Othello.
& A. 1745.1746. Sir Harry Wildair— Chamont
— lago — Polydore — Ventidius.
1746- 1747. Probably Benedick — Romeo — Msop.
1748-1 749. ^Brooke's Earl of Essex.
1749-1750. Valentine— Dumont.
1751.1752. Orestes— Young Bevil.
1753.1754. Zaphna.
C. G. 1754.1755. Shylock — Theseus— Coriola-
nus — Sir Charles Easy— (Edipus — Zanga— Osmyn
In M. B.*.*-*Virginius in Appius.
S. A. 1756-1757. Prospero — Comus — Archer
— Nerval — ^probably Tancred.
D. L. I76O.I76I. King John*
1762-1763. ♦Lord Medway in Discovery.
C. S. 1763.1764. Clytus.
Hay. 1769 and 1770. No new character.
C. S. 1771-1772- King Lear.
C. G. 1775.1776. Roman Father — Doable
Dealer.
* Originalfy,
The Dramatic Censor mentions Sheridan 9» having
acted Banger — Henry the 5th — ^VaraQes and Fad-
conbridge— ^*Xn all probabilityi he acted the Loyal
Digitized by VjOOQ IC
8. A. 1773-1774. 539
Subject, when he brought out his alteration of that
play.
Mrs. Fitzhenrj^s characters.
C. G. 175S-I754. As Mrs. Gregory — Hermione
in D. M. — Alicia.
S. A. 1754-1755. Zara in M. B.
1 755.1756. Zaphira— Volumnia.
C. G. 1756.1757. Calista— Lady Macbeth.
S. A. I757-I758. As Mrs. Fitzhenry— no new
part.
C. S. 1759-1760. Isabella in M. for M.— -Emilia
in Othello— Cleopatra in All for Love.
I76O.176I. Mandane in Orphan of China.
I763-I764. Queen in Hamlet — Queen Katharine.
D. L. 1765.1766. Roxana.
S. A. and C. S. 1767-I768.' Countess of Salis-
bury.
1769- 1770* Arpasia.
S. A. I77S-I774. Mrs. Belville in School for
Wives.
Mrs. Fitzhenry returned to the stage for some
few nights, after she had retired from it, and played
some of her principal characters with much suc^^ess
— (iS^tinonir)— this was probably in 1783-1783, as in
the Thespian Dictionary she is said to have (finally)
Digitized by VjOOQ IC
540 CAPEL iTR££T» 1773-1774.
retired from the etage under Daly's managemeDt»
and in her farewell address to have strongly recom-
mended Kemble to the notice of the poblic — the
writer of the T. D. tells us that she died at Bath id
I79O— this is probably a mistake for Mrs. Fitz-
maurice.
CAPEL STREET, 1773-177*.
Lewis, from his attachment to Dawson, had con-
tinued in Ireland to the beginning of this season,
when he made his Ist app. at C. G.— Dawson, de*
priyed of Crow Street, had once more recourse to
Capel Street, which he repaired with the utmost
diligence — he collected as good a company as he
could— among the rest were Mr. and Mrs. Durravan
and their son— the last proved a good actor — see
Bath Nov. 22 I788.
Dawson was not able to open till Nov. 23, when
the West Indian was iacted with Fondlewife and
Leetitia — the bill says this Farce was taken fit>m the
Old Batchelor by Sheridan — the B. D. tells us it
came out at Crow Street in 1767*
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CAPEL STRKET» i7T8-lTT4. 541
Dawson had many friends who on this emergency
displayed their attachment— the house was crowded,
and the performance went off with applause*
He was shortly joined by Simpson (brother to
Mrs. Inchbald) and his wife from Norwich— their
1st app. was in Sir John Melvil and Fanny in the
Clandestine Marriage— he had little abilities for the
stage, but she sustained a considerable line of busi-
ness both in Tragedy and Comedy — see Bath Sept»
18 1782.
Dawson was as industrious as usual — he got up the
Jubilee with much care and cost — this drew him
some money — he also produced the School for Wives
ten days before Ryder could get it ready, which was
of material advantage to him.
In the midst of this struggle, while he was using
every effort to maintain his ground, eleven of his
performers, without the least previous notice, left
him one morning in the latter end of Jan., and set
off in a body for Portarlington— tho' few of them
were of any consequence, yet the loss of such a
number, when he could ill spare one, reduced him
to the necessity of declining at least for the present
an opposition, which he could no longer support — ^he
accordingly shortened his season, commenced benefits
directly, and early quitted the field to his more
fortunate competitor. (^HitchcocAJ)
Here ends HitchcocVs view of the Irish Stage ;
and here conseqtiently must end this account — with
the eaoception of some few additions.
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54f2 PIECES ACTED IN DUBLIN ORI&IMALLY.
SOME FEW PIECES WERE ACTED IN
DUBLIN ORIGINALLY.
Almeyda, or the Rival Kings, by Howard — this
T. was printed in 1769— it seems not to have been
acted— it is founded on Dr. Hawkesworth's tale of
Almoran and Hamet — the late king of Persia had
left his 2 sons, Almoran and Hamet, equally his
successors — Almoran, the elder son, is highly in-
censed at this division of power, and the animosity
between the brothers is encreased by Almoran's
falling in love with Almeyda, who is on the point of
being united to Hamet — Almoran, disguised as
Hamet, gets into her apartment — her cries alann
her father — he is killed but she escapes — in the last
scene Almeyda and Hamet are brought in as pri-
soners—a sudden turn is given to the catastrophe
by the Vizier Osmin, who kills Almoran, and is
killed by him— some improbabilities occur in Ae
conduct of the plot, and the play is by no means a
good one— see Fair Circassian D. L. Nov. 37 178I*
Modem Honour, or the Barber Duellist Jemmy
Curlpate(the Barber) =yandermere: Toby Tickle-
chops (his journeyman) = Parker : Steady (in love
with Miss Melmont) =: Wheeler : Jerry (his servant)
= Forde: Miss Melmont (in love with Steady) =
Mrs. Barry : Lucy (her maid) = Mrs. Brown : —
Curlpate is so vain as to think Miss Melmont is in
love with him — he bribes Lucy with a promise of
Digitized by VjOOQ IC
PISC£8 ACTBD IN DUBLIN ORIOINALLY, 543
£500 on the day of his marriage— she excites a
qaarrel between Steady and her mistress— Curlpate
sends Steady a challenge — when he comes to the
appointed place, he is frightened, and attempts to
ran away— Jerry trips up his heels and horsewhips
him — Steady expresses his hope, that since Barbers
hare canght the spirit of duelling, all real gentlemen
will despise it in future — at the conclusion. Steady
and Miss Melmont are reconciled — Curlpate is par-
doned—this musical F. was the first attempt of
a young author — it was acted at S. A. in 1775— it
is a very poor piece.
Governess — this piece differs but little firom the
Duaina — it is said to have been acted at Crow
Street in 1777 — it was printed in 1788 with the fol-
lowing cast^— -Enoch Issachar =: Ryder : Don Pedro
= Vandermere : Lorenzo = Du Bellamy : Octavio =
Owenson : Father John = Wilder : Ursula (the
Governess) = Mrs. Heaphy: Florae Mrs. Thomp«
son: Sophia ;= Miss Potter.
A Match for a Widow, or the Frolics of Fancy
— this Opera in 3 acts, was written by Capt At-
kinson—it was acted in 1786, and printed in I788 —
it is. quite as good as the generality of Operas — ^the
main plot is professedly founded on a litde French
Comedy, from which Mrs. Inchbald also borrowed
her Widow's Vow — ^the cast was — Belmor=: Woods
and Marshal : Jonathan (his servant) = Comelys :
Corporal Squib = Ryder: Villars (brother to Lady
Bloomingdale) = Dn£^ : Adam (her servant) =
Wilder : Sergeant Drill = Owenson : Quack = Moss
and Cherry : Gauge =: E. King : Lady Blooming*
dale (a young widow) = Mrs. Mehnoth : Polly = Mrs.
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54fif PIECES ACTED IN DVBLIM ORIttlKALLT.
Hitchcock: Marcella (sister to Belmor) = Mm
Hitchcock and Mrs. Marshal : Mrs. Qaack = Mrs.
Heaphy: Lady Blootningdale had been so iU
used by her husband, that on his death she had
retired to the country^ and had made a vow never
to receive a visit from a man— Marcella Belmor
wants to bring about a match between her brothw
and Lady Bloomingdale — for this purpose she had
caused Polly to leave her service, and engi^ her-
self to Lady Bloomingdale —Polly had told Lady
Bloomingdale that Marcella meant to play her a
trick, and to make love to her in the dress of a
man —here the piece begins — Lady Bloomingdale
consents to receive Belmor into her house, sup-
posing him to be Marcella— she treats him accord-
ingly— ^they fall mutually in love— at the condusion,
Belmor and Villars marry Lady Bloomingdale and
Marcella — in the 3d act, a number of persons are
assembled under Lady Bloomingdale's window, to
serenade her as if she had jast been married^i-
Belmor appears at the next window, as if he
bad been her husband — this is borrowed from
Woman's a Riddle — Gauge comes to sup with Mrs.
Quack during her husband's absence— Quack is
heard knocking at the door — the supper is thrust
into a cupboard — Squib pretends to conjure for a
supper — and contrives to let Gauge make his
escape without being known — this scene is taken
from the London Cuckolds — Jonathan, who is a
Yankee, is a very good character — in one of ik
songs he says
** And once I stove a cask of beer,
** Because it work'd on Sunday.'*
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PIECES ACTED AT DUBLIN ORIGINALLY- 545
Atkinson in bis dedication compliments Daly, the
Patentee and Manager, as having rescued the thea-
tre from neglect and degradation, and brought it to
the highest pitch of magnificence and respectability*
Love in a Blaze. Flambeau (servant to Merville)
= Stewart : Gentooba (an Indian). = Byrne : Mer-
ville (captain of an Indiaman) = Bellamy : Prince of
the Island = Hamerton : Jack Gangway = Wil-
liams : Theresa (wife to Merville) = IVf rs. Addison :
Mary Anne (her woman — married to Gentooba) =
Mrs. Cresswell : Elora (sister to Gentooba — in
love with Flambeau) = Mrs, Williams : — the scene
lies on an Island in the Indian Ocean — Theresa,
Mary Anne and Flambeau had been shipwrecl^ed
on the Island —^ Theresa had pretended to be married
to Flambeau, to avoid a forced marriage with one of
the natives — Flambeau wants to enjoy the privileges
of a husband — Theresa resents his insolence — he
appeals to the Prince — Theresa, by the advice of
Gentooba, pretends to be dead — Flambeau is con-
demned to be burnt with her, according to the custom
of the Island — Merville arrives, and all ends happily
—I Flambeau marries Elora — this is an indifferent
Op., in 3 acts, by Capt. Atkinson — it was acted at
C. S. in 1800— the plot is the same as that of Gallic
Gratitude — see C. G. May 6 1779— each of the
pieces is taken from the French.
Bedouins, or Arabs of the Desert. Volatile,
Gusto, and Steerage (Englishmen) = Philips, Wil-
liams and Johnson : Hamet (a Greek servant) =
Stewart: Abdallah (chief of the Arabs) = Galindo :
Perim (his friend — in love with Cadiga) = Byrne :
Zeleika (supposed daughter of Abdallah) = Mrs.
VOL. X. K N
Digitized by VjOOQ IC
546 PIECES ACTED AT DUBLIN ORIGINALLY.
Addison : Cadiga (really his daughter— inwove with
Ferim) = Mrs. Cresswell : Sbireen (a female Be-
douin) = Miss Webb : — the scene lies among the
ruins of Palmyra and in the adjacent desert— Gusto
is an antiquarian. Volatile is his young companion,
and Steerage the master of a yacht — at the opening
of the piece the Arabs attack a caravan — Gusto and
Volatile make their escape — Volatile and Zeleika
fall in love at first sight — Zeleika places Gusto and
Volatile in the tent appropriated for the reception of
strangers— Abdallahy on his return, approves of what
she had done — Volatile means to carry off Zeleika—
Gusto considers Volatile's design as a breach of hos-
pitality, and acquaints Abdallah with it — Abdallah
tells Gusto that Zeleika is not his daughter — she
proves to be the daughter of Gusto — and the piece
ends with the union of Volatile and Zeleika — this is
a moderate Opera, in 3 acts, by Irwin — > it appears
from the advertisement that the character of Abdallah
was meant to represent Isman Abu Ally, the great
Sheick of the Arabs in Upper .^Igypt, when the
author passed through that country — the Bedouins
was acted at C. S. in 1801.
Digitized by VjOOQ IC
DUBLIN 1806.— 1803-1809. 5*7
DUBLIN. 1806.
July SL Holman's bt. AU for liOye. Antonys
Holman : Ventidiu8=:C!ooke.
Aug. 1. Cooke's bt Stranger —Stranger = Cooke :
with Catharine and Petruchio — Petrucbio=: Lewis.
2. For bt. of Lewis. Such things are. Twineall
= Lewis :— with Apprentice. Dick = Lewis : — in
which character he will attempt a short and humble
Imitation of Messrs. Sheridan*-Barry — Mossop —
and Woodward— with a &rewell address.
1808-1809.
Dec. 16. Speed the Plough. Sir Philip Blandford
= Younger: Sir Abel Handy = Fullam : Bob Handy
=: Lewis Jun.: Henry = Simpson : Miss Blandford
= Miss Walstein : Dame Ashfield = Mrs. Hitchcock :
Susan = Miss Sheridan.
N N 2
Digitized by VjOOQ IC
548 DUBLIN 1808-1809.
17. Adelgitha. Guiscard = Huddart : Lothair =
Rae : Adelgitha = Miss Smith : Imma = Miss Wal-
stein.
Jan. 10. Castle of Andalusia. Don Scipio = FuU
lam : Pedrillo = Johnson : — with Mother Goose.
Harlequin = Ellar : Clown = Bradbury.
11. Inconstant. Young Mirabel = Rae: Old
Mirabel = FuUam : Duretete = Lewis Jun. : Bisarre
= Mis8 Smith : Oriana = Miss Walstein.
16. Macbeth — Macbeth =:Holman : Lady Macbeth
=:Mis8 Smith.
18. Wonder. Don Felix = Holman : Don Pedro
= FuUam : Lissardo = Johnson : Violante = Miss
Smith.
January thirty. Henry 8th. King = Holman :
Cardinal Wolsey = Huddaii;: Buckingham = Rae:
Queen = Miss Smith.
Febl. Gamester. Beverley = Holman: Mrs.
Beverley = Miss Smith.
10. Jane Shore. Hastings = Holman : Damont
= Huddart ; Glostem Younger : Jane Shore = Miss
Walstein : Alicia = Miss Smith.
14. Never acted there, Man and Wife. Charles
=Rae: Sir Willoughby Worrett = Fulham : Helen
= Miss Smith.
18. Honey Moon. Duke = Rae: Rolando =
Lewis Jun. : Juliana = Miss Smith.
^0. Romeo and Juliet. Romeo = Holman : M er-
cutio = Lewis Jun. : Juliet = Miss Smith : Nurse =
Mrs. Hitchcock.
2L Ella Rosenberg— Rosenberg = Huddart : Ella
Rosenheim = Miss Walstein.
93. The day appointed by the Lord Lieutenant
Digitized by VjOOQ IC
DUBLIN 1808-1809. 549
for the celebration of her Majesty's birthday — Boxes
free for the Ladies — Haunted Tower. Baron of
Oakland = Falham : — with Raising the Wind.
Jeremy Diddler=: Lewis Jun.
27* Miss Smith's bt. Grecian Daughter. Evander
= Huddart : Philotas = Rae : Euphrasia = Miss
Smith, Ist time : — with Collins' Ode by Miss Smith
— and Out of Place.
March 7» Giroux* bt. School for Scandal. Sir
Peter Teazle = FuUam : Joseph = Huddart : Charles
= Rae : Sir Benjamin Backbite = Lewis Jun. :
Lady Teazle = Miss Smith : Mrs. Candour = Mrs.
Mason.
Miss Smith had acted Isabella with great applause.
The having of a Play on the 80th of January
proves, that either the Act of Parliament, for ob-
serving this day as a Fast, did not pass in Ireland, or
else that the Royal Martyr is not in the same odour
of Sanctity there, in which he used to be.
As it cannot be supposed that the Government in
Ireland would suffer a play to be performed on this
day, if there were any moral turpitude in the act, it
is to be hoped, that the same liberty will some day or
other be granted to the theatres in D. L. and C. G.*
— and that the time will come, when it shall no
• A Lady at Bath, who used to give Sunday Concerts, one
evening put off her entertainment, because Sunday happened to
fall on the SOth of January — she was too genteel to r^;ard the
breach of the Lord's Day, but she could not think of being de-
ficient in respect to the State Fast.
Digitized by VjOOQ IC
550 DUBLIN 1808«1809.
longer be considered as essential to the good morals
of the nation to have 12 musical pieces performed in
the spring of every year in lieu of as many plays —
the keeping of Lent in a Pro^^an^ countiy is ridicu-
lous, and probably confined to England alone* —
when men place their religion in the observation of
times and seasons, and put the laws of man on a
level with the laws of heaven, then we may say with
the Comic Poet —
These things hurt the people — not Comedy*
• The first MarquU of Lansdown asked Watson, Bishop of
LlandaflF, to dine with him on Good Friday — when he came, the
Marquis apologized for what he had done, by saying that he was
not aware of its being any particular day, when he sent the infi-
tation — the Bishop replied, '^ My Lord I know no distinction of
** days" — ^implying, that he would not do what was wrong on any
day, and that he did not scruple to do what was a matter of in-
di£ference (such as dining with a friend) on any dayt
* Suidas cites the passage, and says xaraXvu am -nt £x««tiiv.
END OF IRISH STAGE.
Digitized by VjOOQ IC
INDEX TO THE IRISH STAGE.
I
Digitized by VjOOQ IC ^ '
Digitized by VjOOQ IC
INDEX.
A
Abimoton Mii8.^-Gome8 to S. A. in 1759-1760 — ^becomes very
popular, and acts some few nights at C. 8. — engaged at C. 8.
in 1760-1761 — at 8. A. in 1761-1762— retorts on Woodward
at her benefit— goes to D. L. in 1765-1766— acts in Dublin
at the latter part of 1767-1768.
Agrippa King of Alba 1675.
Aikin F.— at 8. A. in 1758-1759— at S. A in 1773-1774.
Alexander the Great— see end of C. 8. 1759-1760.
An Vows kept 1733.
Argoments for and against a second theatre — see end of 1757-
1758.
Arthur at C. 8. in 1758-1759.
Ashbury opens his theatre March 23 1691-2 — dies in 1720.
Ashmore Miss — support of Capel 8treet in 1770 — afterwards
Mrs. 8parkii.
Aungier Street theatre — ^first stone laid May 8 1733 opened
under the direction of a Committee.
B
Baddeley at 8. A. 1761-1762.
Barrington at 8. A. 1748-1749.
Barry — makes his 1st app. on the stage in 1743-1744 — Cleaves
Ireland in 1746— engaged at 8. A. in 1754-1755 — becomes
joint proprietor of C 8. in 1758-1759 — acts Macheath in
1764-1765— is obliged to give up C. 8. at the close of 1766-
1767— acU at C. 8. with Mrs. Barry in 1770-1771— at Dub-
lin in 17721773— at 8. A. in 1773-1774 ^for his arrest,
when on the stage, see the end of C. 8. 1766-1767.
Digitized by VjOOQ IC
]] INDEX.
Bedouins, or the Arabs of the Desert 1801.
Beef Steak Club instituted in 1753.
Bellamy Mrs. at S. A. in 1745- 1746— goes to C. G. in 1748-
1749— engaged at S. A. in 1760-1761.
Blisset at S. A. in 1765-1766.
Booth at S. A. in 1698.
Brown comes to S. A. in 1758-1759 — ^becomes manager in 1759-
1760— engaged at S. A. in 1767-1768.
C
Capel Street theatre opened 1744-1745 — ^re-opened in 1770.
Cashel at S. A. 1735.
Catley Miss — at S. A. in 1763-1764— and frequently afterwards.
Chetwood comes to S. A. about 1741.
Gibber Theophilus— at S. A. in 1743— at S. A. in 1749-1750—
engaged at S. A. in 1758-1759, but is drowned on his Toyage
from England.
Cibber Mrs. — engaged at Aungier Street in 1741.
Clinch makes his 1st app. on the stage in 1767-1768.
Clive Mrs^at S. A. 1741— at C. 8 1762-1763.
Cooke at Dublin in 1806.
Countess of Salisbury comes out at C. S. 1764-1765.
Crow Street theatre opened Oct. 22 1758.
Connaught Wife at S. A. 1766-1767.
Cymon at S. A. and Capel Street 1770-1771.
D
Dancer Mrs. — engaged at C. S. 1758- 1759 — greatly impioTed
in 1760-1761 — leaves Dublin with Barry in 1767— -see
Barry,
Dawson commences manager in 1770«— deserted by his actors
in 1774.
Delane made his 1st app. on the stage in 1728 — ^went to 6. F.
in 1731-1732 — acted at 8. A. in the summers of 1739 and
1740.
Dexter made his 1st app. in Ireland in 1752-1753.
Digges made his 1st app. on the stage in 1749-1750 ^- ia 1758-
1754 he acted Alcanor, and was awkwardly ntuated— en-
gaged at S. A. in 1758-1759— and in 1760-1761.
Dispute between Theo. Cibber and Sheridan in 1743.
Dispute between Barry and Macklin — Macklin wanted to phiv
the first parts in Tragedy — ^see the end of 1756-1757.
Digitized by VjOOQ IC
iND£x. ni
Dodd and Mrs. Bulkley at S. A. 1773-1774.
DurraTan Jon. at Capel Street 1778-1774.
E
Earl of Essex by Brooke came oat in 1748-1749.
Edwin at S. A. in 1765-1766.
Elephant at S. A. in 1771-1772.
Elliot Miss— at C. S. in 1761-1762.
Elrington Thomas — dies in 1732 — account of him.
Etherege*s 3 Comedies acted in 1698.
P
Fair Penitent capitally acted in 1745-1746.
Farqnhar leaves Ireland in 1696 or 1698.
Fitzhenry Mrs. — (then Gregory) at S. A. in 1754-1755 — ^for her
characters see the end of 8. A. 1773-1774.
Poote at A. S. in 1744— at S. A. in 1756-1757— and 1757-1758
—at C. 8. in 1759-1760— at S. A. in 1762-1763— and in
1768-1769_and in 1773-1774.
Fnmival Mrs. — see I'^M — and 1745-1746.
Fatal Extravagance 1721.
6
Gamck at S. A. in the summer of 1742.— engaged with Sheridan
in 1745-1746.
GiffEurd at S. A. about 1721— leaves Ireland in 1729— at S. A. in
summers of 1742 and 1743.
Green Mrs. — at S. A. in 1751 or 1752 — ^leaves Ireland in 1754.
Griffith Sen.^ — account of him in 1731.
Griffith Jun. — at S. A. in 1760-1761.
Gustavus Vasa acted in 1741 — and 1744.
Governess (or Duenna) 1788.
H
Hamilton Mrs.— (then Bland) at S. A. in 1748-1749^ and in
1750-1751— breaks her article in 1757.
Hasty Wedding 1720.
Havard at Aungier Street in summer of 1743.
Heaphy made his 1st app. in 1751-1752.
Heaphy Mrs.— (then Miss Mason) at Capel Street in 1746-1747.
Hermon, Prince of Chonea-^see end of 1745-1746.
High Life below Stairs at S. A. 1759-1760.
Hohnan at Dublin in 1806.
Husband manager of Rainsford Street in 1732 or 1733.
Digitized by VjOOQ IC
IV INDBZ.
Injured Honour, or the Earl of Westmoreland, by Brooke,
comes out in 1755-1756.
Irish Hospitality 1720.
J
Jackson Mr. and Mrs^-at C. S. 17701771.
Jack the Giant Queller comes out in 1748-1749 — ^rerirtKi in
1755-1756.
January SO — a play on that day — see bills for 1808- 1809.
Jefferson at C. S. in 1759 and 1760.
Jewell Mrs at S. A. in 1773-1774.
K
Kelly's riot in 1746-1747.
King at S. A. in 1750-1751 — gets up a Pantomime in 1757-
1758— at C. S. in 1758-I759_goes to D. L. in 1759-1760-.
acts at S. A. with little success in May 1762 — ^is popular in
Lord Ogleby in the summer of 1768.
King Mrs.— at C. S. in 1772-1773.
L.
Layfield— see end of 1749-1750.
Lessingham Mrs.— at C. S. 1762-1763.
Lewis, the chief support of Capel Street in 1770 — goes to C. 6.
in 1773-1774— gives Imitations at his benefit in Dublin Aqg.
2 1806.
Libertine-^-Galleries give way during the performance Dec 26
1701.
Like Master like Man— ses S. A. 1766-1767.
London Cuckolds acted with success at C. S. in 1759-1760.
Love a-k-Mode at €. S. 1761-1762.
Love and Ambition 1731.
Love in a Blaze 1800.
Love in a Mist comes out at Capel Street in 1746-1747.
M
Macklin at S. A. in 1748-1749— at C. S. in 1761-1762— at & A.
in 1763-1764 — at Capel Street in 1770-1771— at C. S. in
1771-1772— «nd in 1772-1773.
Mahomet occasions a great riot in 1753-1754 — Sowdon and Vic-
tor's dexterous conduct about it 1754-1755.
Mansell Miss— her Istapp. in 1769-1770.
Marplot revived at C. S. in 1759-1760.
Match for a Widow comes out in 1786.
Digitized by VjOOQ IC
INDEX. V
Measure for Measure acted at C. S. in 1759-1760.
Merchant of Venice revived in 1743-4.
Melmothand Mrs. Melmoth at S. A. 1772-1773.
Midas comes ont at €. S. in 1761-1762.
Minor damned at €. S. in 1759-1760 — acted with universal ap-
plause at S. A. in 1761-1762.
Mock Coronation in 1734-1735.
Modem Honour comes out in 1775.
Mossop — makes his 1st app. in 1749-1750 — leaves Dublin in
1750-1751— at S. A in 1755-I7r>6_at C. S. in 1759-1760—
becomes manager at S. A. in 1760-1761 — in consequence of
his ill success, has a benefit in 1770-1771 — final account of
him in 1771-1772.
Mofsopand Mrs. Burden ^see end of C. S. 1766-1767.
MilfTood at S. A. in summer of 1739.
Mozeen Mrs.— at S. A. in 1748-1749.
Much ado about Nothing, revived in 1746-1747.
N
Nichomede 1671.
NossiterMiss— at S. A. in 1754-1755.
O
Obrien at C. S. in 1762-1763.
O'Keeffe at Capel Street in 1770.1771— «t S. A. in 1773.1774—
see the end of that season.
Othello — ^Mossop and Barry act Othello for their benefits in 1761-
1762.
Orphan of China at S. A. and C. S. 1760*1761.
P
Patriot King comes out at S. A. in 1772-1773.
Pauses on the stage— see S. A. 1758-1759.
Phillis at Court comes out at C. 8. 1766-1767.
Phillips (Harlequin) at Capel Street in 1744-1745.
Plotting Lovers 1720.
PritchardMrs.— at C. S. in 1761-1762.
Pompey acted in 1662.
Philips Miss G. — afterwards Mrs. Francis, and mother to Mrs.
Jordan — ^was at S. A. in 1757-1758.
Q
Quin at S. A. in 1714— and in 1739— at Aungier Street in 1741.
Quarrel between Macklin and Sheridan—see end of 1749-1750.
Digitized by VjOOQ IC
VI INDEX.
R
Rainaford Street theatre boilt aboat L733.
Reddish at S. A. in 1761-1762.
Rival Generals 1722.
Rotherick O'Connor 1720.
Romeo and Juliet, reyired in 1746-1747.
Ross at S. A. in 1748-1749.
Ryan at S. A. in snmmer of 1733 — at Aongier Street in 1741.
Ryder makes his Ist app. at S. A. in Dec. 1757 — becomes
ger in 1772-1773.
S.
S. A. bnilt soon after 1660 — rebuilt in 1735— completely repaired
in 1760-1761 by Mossop.
She Gallant comes out at S. A. in 1766-1767.
Sham Prince 1720.
Sheridan makes his 1st app. at S. A. Jan. 29 1742-3 — goes to
D. L. in 1744-1745-— becomes manager of S. A. in 1745-1746
— insulted by Kelly in 1746-1747 — -leaves IreUmd on account
of the riot in 1754— resumes the management, and is finreed
to make an apology in 1756-1757 — resigns the managemeat
in 1759— engaged at €. S. in 1763-1764— and in 1766-1767
and in 1767-1768— and in 1771-1772— at S. A. in 1773-
1774 — see his characters at the end of that season.
Shuter at C. S. in 1760-1761— and in 1762-1763.
Smith and Mrs. Bardey at S. A. 1773-1774.
Smith Misa— «ee bills for 1806-1809.
South Briton comes out at S. A. 1772-1773.
Sowdon at S. A. in 1762-1763 — ^becomes joint-manager with
Victor in 1754-1766.
Sparks Isaac — see Capel Street 1770-1771.
Stayley's improper toast at S. A. in 1760-1761.
T.
Tempest revived at S. A. and C. S. in 1760-1761.
Tender Husband at C. S. 1761-1762.
Tragedy a-la-Mode at C. S. 1769-1760.
Trefusis at S. A. in 1698.
True Bom Irishman at C. S. 1762-176»— at S. A. in 1763-1764.
True Bom Scotchman (now Man of the World) brought out it
C. S. in 1765-1766— acted at Capel Street in 1770-1771.
V.
Vaudermere at C. S. in 1771-1772.
Digitized by VjOOQ IC
INDEX. VU
Vanderbank at S. A. in 1745-1746.
Victor, depaty manager in 1746-1747— joint manager with Sow-
don in 1754-1755 — ^ieayes Ireland in 1759.
Violante Madame — brought out the Beggar's Opera, as acted by
children, about 1728.
W.
Ward Mrs*— at S. A. in 1752-1753— and 1758-1759.
Walker and Mrs. Walker— see 1768-1769.
Weston atS. A. in 1760-1761.
Wetherhilt at S. A. in 1735-1730— dies in 1743.
Wilder and Mrs. Wilder comes to S. A. in 1756-1757.
Wilkinson takes o£F Footo at S. A. in 1757-1758— at S. A. in
1759-1760 — and 1761-1762 — engages for some few nights at
C. S. in the same season — ^his Tea — atC. S. in 1763-1764 —
a particular account of his benefit — at €. S. in 1771-1772 —
he was then manager at York.
Wilks engaged under Ashbury in 1698.
Woffington Mrs. — ^makes her I st app. in a speaking character on
Feb. 12 1736-7— goes to C. G. in 1740-1741— engaged at
S. A. with Garrick in the summer of 1742 — regiSarly en-
gaged at S. A. in 1751-1752'— leaves Ireland in 1754.
Woodward at S. A. in the summer of 1739 — ^regularly engaged
at S. A. in 1747-1748— at S. A. in the spring of 1756— be-
comes joint-proprietor of C. 8. in 1758-1759 — Cleaves Ire-
land at the close of 1761-1762 — ^for his unfortunate Pro-
logue see C. S. 1763-1764.
Wright at S. A. in 1741.
Y.
Younge Miss — at Capel Street in 1770-1771.
Digitized by VjOOQ IC
Corrections and Additions to Vol. 10.
P. 99 !• 17— iusert a Bmall line between lanthorn
and be.
P. 189 — For Politician read Politician Reformed.
P. 256 L 14 — add — Bailey in bis Dictionary ex-
pressly says — •* Stratagem corrupt for Strategem."
P. 339 L 12 — insert a small line between Con-
stance and enraged.
P. 430 1. 2 — insert a small line between account
and offer.
^Opere in longofas est obrepere somnum.
FINIS.
fEINTSD BY H. S. CAREIMOTON,
CHEONICLX OrnCB, BATH*
Digitized by VjOOQ IC
INDEX TO THE ENGLISH STAGE,
N B. FOR THE FIRST AFP. OP ANT PERFORMER OF CONSEQUENCE, SEE
HIS, OR HER, CHARACTERS
A
Abdalla— 4ee toI. 10 p. 225.
Abdicated Prince — see toI. 1 p. 468.
Abdication of Ferdinand— see toL 10 p. 229.
Abdehoer— D. 6. 1677.
Abington Mrs— her characters— C. 6. 1708-1799.
Abon Hassan — D. L, April 4 1825.
Abradates and Panthea — see vol. 10 p. 229.
Abra Mol^— L. I. F. Jan_1704— D. L. Jan 26 1710— L. I. F.
March 18 1721— C. G. Feb. 15 1735— C. G.March 8 1744.
Abroad and at Home— C. 6. Nov. 19 1796— D. L. May 28
1822.
Absent Apothecary— D. L. Feb. 10 1813.
Absent Man by Bickerstaffe— D. L. March 21 1768— D.L.
March 29 1784— C. G. March 24 1795.
Absent Man by HuU— C. G. April 28 1764.
Abndahy or the Talisman of Oromanes — D. L. April 13 1819.
Accomplished Maid— C. G. Dec. 3 1766.
Accusation, or the Family of D*A nglade— D.L. Feb. 1 1816.
Achilles by Boyer— T. R. 1699.
b
Digitized by VjOOQ IC
11 INDEX,
Achillea by Gay— €. G. Feb. 10 1733.
Achilles in Petticoats— €. G. Dec. 16 1773.
Act at Oxford— see D. L. Oct. 30 1705.
Actor by Lloyd— see end of C. G. 1760-1761.
Actor of All Work— Hay. Aug. 13 1817.
Actress of All Work— Bath May 8 1819— Bath April 23 1823.
Adamus Exsol— see vol. 10 p. 178.
Adelaide by Pye— D. L. Jan. 5 1800.
Adelaide, or the Emigrants — €. G. May 23 1816.
Adelaide of Wulfingen— see vol. 10 p. 208.
Adelinda — see yoI. 7 p. 401.
Adeline— D. L. Feb. 9 1822.
Adelgitha— D. L. April 30 1807— D. L. May 19 1817— C. G.
Oct. 29 1818— D. L. Nov. 16 1820— 1>. L. Jme IS 1828
— D. L. AprU 14, 1828.
Adelmorn the Oatlaw— D. L. May 4 1801— in 2 acts D. L.
May 7 1802.
Admirable Crichton — D. L June 12 1820.
Adopted Child— D. L. May 1 1795— C. G. May 14 1799.
Adrian and Orrila^c! G. Nov. 15 1806— Bath Oct. 28 1820.
Adventures in Madrid — see end of Hay. 1705-1706.
Adventures of a Night— D. L. March 24 1783.
Adventures of Five Hours— L. I. F. 1663— Hay. Feb. 3 1707—
D. L. Oct. 9 1727— for the plot see C. G. Jan. 31 1767.
Adventures of Half an Hour— L. 1. F. Mavch 19 17W;
Adventures of a Ventriloquist — Bath Jan. 18- 1823.
Adventurers-^D. L. March 18 1790.
Adventures of Ulysses — see vol. 10 p. 230.
Advertisement, or Bold Stroke for a Husband — Buy. Aug. 9
1777.
AmM)6tatian-.C. G. Oct. 29 1784.
Jfisohylusp— see voL 5 p. 629.
iBsop— D. L. 1697— D. L. March 16 1708— L. I. F. Nov. IS
and Dec. 7 1725— D. L. Jan. 5 1738—0. G. M^ * 1«*
— D. L. Dec. 28 1758— as afterpiece D. L. Deo. 19 I77a
^thiop— C. G. Oct. 6 1812— Bath Feb. 25^ 18ia
Africans— Hay. July 29 1808-^Hay. Aug. 5 1819— Dv L. Jtoe
2 1823.
Agamemnon— D. L. April 6 1738.
Agis— D. L. Feb. 21 1758.
Digitized by VjOOQ IC
INDEX. Ill
Aglanra — see vol. 10 p. 66.
Agpmunda — see Haniades.
Agpses de CMtro— D. L. 1696.
AgaeBj or Midnight Marriage — Bath Mar. 12 1823.
Agreeable Surprise — Hay. Sep. 3 1781 — Hay. (D. L. C.)
April 8 1793— D. L. April 16 1795— C. G. Dec. 5 1795—
C. 6. Jane 9 1818.
Agrippina — tee vol. 10 p. 49.
Aikin F_hi8 characters— C. 6. 17921793.
Aikin James — see D. L. Dec 5 1767 and end of D. L. 1799-1800.
Aladdin — melodramatic Romance — ^C 6. April 19 1813.
Aladdin, by Soane— D. L. April 29 1826.
Alasco— see vol. 10 p. 243.
Albert and Adelaide^C. 6. Dec. 22 1798.
Albertos Wallenstein— see Old Plays 1823-1824.
Albina Coontess Raymond — Hay. Joly 31 1779.
Albion and Albanins — T. R. 1665.
Albion Restored — see vol. 10 p. 179.
Albion Qaeens— D. L. Mar. 6 1704— D. L. Mar. 2 1723— C. 6.
Sep. 30 1734— C. G. April 5 1750—0. G. May 13 1766—
C. G. April 16 1773— C. G. May 20 l779^Bath Nov 23
1815.
Albovine King of the Lombards — see vol. 10 p. 77.
Albnmaaar- L. L F. Feb. 2 1668— D. L. Oct. 3 1747— D. L.
April 13 1748— for the plot see D. L. Oct. 19 177^.
Alcftid— Hay. Aug. 10 1824.
Alcanor— sed Arab C. G. March 8 1785.
Alchemist T. R. Aug. 3 1664— L. I. F. Oct. 9 1702— D. L.
Feb. 19 1709— D.L. Oct. 27 1721— C.G. Dec 10 1740—
D. L. March 21 1743 — D. L. March 20 1758 — D. L.
Dec. 17 1763--D. L. Oct. 24 1774— as Farce D. L. April
10 1787.
Alcibiades— D. G. 1675.
Alcmena — D. L. Nov. 2 1764.
Alexander the Great— (see Rival Queens)— D. L. Oct. 16 iTIt —
C. G. Oct. 4 1774— D. L. March 27 1776— C. O. Oct. 22
1787 — C.G. May 6 1794— D.L. Nov. 23 1795— D. L.
April 23 1806— C G. June 1 1808— C. G. Nov. 17 1812
— D. L. June 8 1818— D. L. June 23 1823.
Alexander the Great — Pantomime — D. L. Feb. 12 1795.
Alexandnean Tragedy— see vol. 10 p. 32.
Digitized by VjOOQ IC
IV INDEX.
Alexander the Litde— C. 6. May 2 1791.
Alexis' Paradise— see yoL 10 p. 157.
Alfonso King of Castile— C. G.Jan. 15 1802— Hay. Feb. 28 1808
— D. L. Jan. 28 1804.
Alfred and Elmma — see toL 10 p. 227.
Alfred the Great by Pocock— C G. Not. 3 1827.
Alfred by Home— C. G. Jan. 21 1778.
Alfred by Mallet— D. L. Feb. 23 1751— D. L. Oct. 9 1773.
Algonah— D. L. April SO 1802.
AliFe and Merry— (F.)—D. L. May 17 1796.
Ali Pacha— C. 6. Oct. 19 1822.
All Alive and Merry— L. I. F. Jan. 10 1787.
All a Mistake— C. G. Jdy 2 1825.
All at Sixes and Sevens— D. L. March 21 1829.
All Fools— see vol. 4 p. 122.
AU for Love— T R. 1678— L. I. F. Feb. — 1704— D. L. Dec 8
1718— D. L. April 2 1734— C. G. March 11 1736— D. L.
Feb. 2 1747— C. G. March 12 1750— D. L. March 22 1766
— D. L. Dec. 17 1772— C. G. April 28 1773— D. L. Mardi
18 1776— C. G. Jan 19 1779— D. L. May 5 1788— C. G.
May 24 1790— Bath Jan. 12 1818.
All for the Better— see vol 2 p. 270.
All in Good H amour— Hay. July 7 1792.
All in a Bustle — see vol. 10 p. 203.
All in the Right— C. G. April 26 1766.
All in the Wrong— D. L. June 15 1761— C.G. April 26 177(1—
C. G. Jan. 3 1783— D. L. Oct. 26 1786— C. G. Nov. 13 1786
— D. L. March 29 1787— Hay. (D. L. C.) April 22 1793—
D. L. Jan 27 1797— D. L. April 2 1803— C. G. May 1 1810
— C. G. April 1 1824.
All Mistaken— T. R. Dec 28 1667— for the plot see voL 4 p. 116.
All on a Summer's Day— C. G. Dec. 15 1787.
All Ploty or the Disguises— see L. J. F. 1671,
All's Fair in Love— C. G. April 29 1803.
All's lost by Lust- see vol. 1 p. 36 — for the plot see vol 2
p. 330.
All's Right-Hay. June 15 1827.
All's Well that ends well—G. F. March 7 1741— D. L. Jan. 22
1742— C. 6. April 1 1746— D. L. Feb. 24 and March 2 1756
— D. L. Oct. 23 1762— C. G. Nov. 29 1762—0. G. D^c S
1772— Hay. July 26 1785— D. L. Dec 12 1794 — C. G.
May 24 1811— Bath May 23 1821. .
Digitized by VjOOQ IC
INDEX. V
AU the World's a Sti^e— D. L. AprU 7 1777— C G. May 17
1782— D. L. May 31 1819— C 6. Oct. 30 18*20—0. L.
May 22 1823— Hay. Oct. 13 1823.
Almena-D. L. Not. 2 1764.
Almeyda, Qaeen of Gi-anada—D. L. April 20 1796.
Almida— D.L. Jan. 12 1771.
Almyna^Hay. Dec. 16 1706.
Alonao— D. L. Feb. 27 1773.
Alonxo and Imogine — C G. June 10 1801.
AJphonso, King of Naples—T. R. 1691.
AJphonsus, Emperour of Germany — see vol. 9 p. 538.
Alsop Mrs.— 1st app. at C. G. Oct. 18 1815.
Altamira by Victor — see vol. 5 p. 539.
Altemira by Lord Orrery— L. I. F. 1702.
AJzira— L. I. F. June 18 1736— D. L. April 30 1744— C. G.
March 18 1755_and €. G. Jan. 11 1758.
Akoma— C. 6. Feb. 23 1773.
Amana— see vol. 10 p. 181.
Amasis, King of ^gypt^C. G. August 22 1738.
Amateur of Fashion— Bath Feb. 9 1810— D. L. April 10 1813—
C. G. Feb. 25 1813— Bath May 28 1814 — Bath Dec. 21
1816.
Amateurs and Actors — C. G. Oct. 28 1826.
Ambition— Hay. Sept. 13 1830.
Ambitious Statesman-T. R. 1679.
Ambitious Stepmother — L. I. F. 1700 — D. L. Jan. 25 1722
D. L. Feb. 1 1759.
Amboyna— T. R. 1673.
Amelia, altered from Summer's Tale — C« G. April 12 1768 —
D. L. Dec 14 1771.
Amelia by Carey— see vol. 10 p. 258.
Amends for Ladies — see vol. 10 p. 2'2.
Americans by D. L. C. April 27 1811.
American Indian — see yoI. 10 p. 203.
Amintas— C. G. Dec. 15 1769.
Amoroso, King of Little Britain^D. L. April 21 1818.
Amorous Bigot— T. R. 1690.
Amorous Miser — see D. L. Jan. 18 1705.
Amorous Orontus — see vol. 10 p. 140.
Amorous Prince — L. I. F. 1671.
Amorous War — see vol. 10 p. 71.
Digitized by VjOOQ IC
VI INDEX.
ilmoroiiB Widow— L. I. F. 1670— Hay. Not. 19 1709— L- 1. F.
Oct. 23 1724— C. 6. Jan. 1752— C. G. March 11 1758.
Amours of Billingsgate — D. L. Jnne 11 1731.
Amphitryon— T. R. 1690— D. L. Sep. 18 1708 — D. L. Sep. 1*2
1734— D. L- Dec 15 1756 — D. L. Nov. 23 1769 — C G.
March 20 1773— D. L. May 17 1784— revised at D. L. in
2 acts, Nov. 18 1826.
Amyntas by Randolph — see vol. 2 p. 293.
Anaconda, the Serpent of Ceylon — Bath May 8 1826.
Anatomist — L. I. F. 1697 — ^revived as Farce D. L. Nov. 18 1743
— D. L. April 15 1771— C. 6. Dec. 21 1786— D. L. Feb. 4
1791— D.L. Dec 19 1801.
Andr^ — see vol. 10 p. 212.
Andromache — D. 6. 1675.
Andromana — see vol. 11 of Dodsley 1744.
Androniciis CommeDios — see vol. 10 p. 138.
Animal Magnetism— €. G. May 26 1788— Hay. July 22 1806—
C. G. March 16 1819— Hay. Oct. 2 1824 — C. G. Nov. 24
1824.
Anna— D. L. C. Feb. 25 1793«
Annette and Lubin— C. G. Oct. 2 1778-.C. G. May 9 1786.
AnniFersary (Sequel to Lethe)— C G. March 29 1768.
Antigone by May— see vol. 10 p. 50.
Antiochnsby Mottley— L. I. F. April 13 1721.
Antiochns by Mrs. Wiseman— L. I. F. L702.
Antipodes— see vol. 10 p. 39.
Antiqoary— seeTol. 7 of Dodsley 1744.
Antiquary— C. G. Jan 25 1820.
Antiquity— see vol. 10 p. 228.
Antonio and Mellida-see vol. 2 of Old Plays 1814>18I5.
Antonio, or Soldier's Return— D. L. Dec 13 1800.
Antony and Cleopatra by Sedley— D. G. 1677.
Antony and Cleopatra by Shakspeare— D. L. Jan. 3 1759.
Antony and Cleopatra altered from Shakspeare and Dryden —
C. G. Nov. 15 1813.
Antony and Cleopatra by Brooke— see his works 1778.
Any thing New-Bath Nov. 12 1812.
Apollo and Daphne-C. G. Nov. 9 1748.
Apostate— C. G. May 3 1817.
Apparition, a musical Romance — Hay. Sep. 3 1794.
Apparition, or Sham Wedding^— D. L. Nov. 26 1713.
Digitized by VjOOQ IC
INDEX. Vll
Appeal— see vol. 7 p. 134.
Appearanee is against them — C. O. Oct. 22 178S — C. G. May 1
1804.
Appins and Virginia T. C 1575 aee toI. 4 p. 133.
Appins and Yt^nia by DeaaiB — D. L. Feb. 5 1709L
Appius by Webster — see Unjust Judge L. I. F. 1670.
Appius by Moncrief — C. 6. Mar. 6 1755.
Apprentice — D. L.Jan. 2 1756 — D. L. Ma^? l762L.Hay. Aug.
27 1778— D. L. Jan. 16 1781— C. G. Mar.26 lia&
April Day— Hay. Aug. 22 1777.
Arab— C. G. Mar. 8 1785.
Arbitration, or Free and Eaay— C. GL D«s. 11 I806[.
Arcadia by Lloyd— D. L. Oct. 26 1761.
Arcadia by Shirley — see vol. 9 p. 553.
Arden of Feyersham— D. L. July 19 1759— altered at C. G.
Ap. 14 1700.
Argalus and Parthenia — see T. R. 1682.
Ariadne by D*Urfey — see vol 10 p. 156.
Aristippus — see vol. 10 p. 47.
Aristodemus— see toI 10 p. 229.
Aristomenes see toI. 10 p. 153.
Aristophanes — see vol. 5 p. 609.
Armed Briton — see vol. 10 p. 228.
Arminins — see end of D. L. 1739-1740.
Armourer- C. G. Ap. 4 1793.
Arrived at Portsmouth— C. G. Oct. 30* 1794.
Arsaces — see vol. 10 p. 190.
Arsinoe— D. L. Jan. 16 1705.
Art and Nature— D. L. Feb. 16 1738.
Artazerxes— C. G. Feb. 2 1762.
Artful Husband— L. I. F. Feb. 11 1717*-.L. L F. MvfB 1721
—IX L. Mar. 3 and 10 1747.
Artfiil Wife—L. L F. Dec. 3 1717.
Arthur and Emmeline — D. L. Nor. 22 P784 — G. G. Nov. 2
1803— C. G. Oct. 26 1819.
Arthur John— see end of C. G. 1757-1758.
Artifice by Mrs. Centlivre— D. L. Oct. 2 1722.
Artifice F.— D. L. April 14 1780.
Art of Management — see Hay. 1759.
Digitized by VjOOQ IC
VIII INDEX*
Amragus and Philicia — T. R. 1672 — for the plot see toL 10
p. 25.
As it should be — Hay. June 3 1789.
Assembly, or Scotch Refonnation— -see vol. 10 p. 18S.
Assignation by Dryden— T. R. 1672— D. L. July 3 1716 — C. G.
Nor. 30 1744.
Assignation by Miss Lee — D. L. Jan. 28 1807.
Assignation in 2 acts — D. L. Dec. 12 1812.
Aston Anthony — see L. I.F. Jan. 13 1722.
Astrologer — D. L. Ap. 3 1744.
As you find it— L. I. F. Ap. 28 1703.
As you like it— D. L. Dec. 20 1740— C. 6. Jan. 8 1742— D. L.
Nov. 2 1747— D. L. Oct. 22 1767— C. G. Ap. 5 1771—
C. G. Jan. 24 1775— C. G. Dec. 17 1770— Hay. July 4 1783
— D.L. Ap. 30 1786— D.L. Ap. 13 1787— C.G. Feb. Hand
Nov. 20 1780— D. L. May 12 1707— G. G. Oct. 25 1806.
Athaliah — see vol. 10 p. 156.
Atheist— T. R. 1684.
Atheist's Tragedy — see vol. 10 p. 19.
Athelstan— D. L. Feb. 27 1756.
Athelwold— D. L. Dec. 10 1731.
At Home— C. G. Feb. 25 1813.
Atreus and Thyestes — see vol. 10 p. 235.
Auchindrane— see vol. 10 p. 245.
Auction of Pictures by Foote — Hay. 1747-1748.
Augustus — see vol. 10 p. 155.
Augusta, or the Blind Girl— D. L. Jan. 14 1823.
Auld Robin Gray — Hay. July 29 1794.
Aurello and Miranda — D. L. Dec. 29 1798.
Aurenge-Zebe— T. R. 1675— D. L. Feb. 19 1708— D. L Nov*
23 1709— D. L. Dec, 11 1721.
Austin.-see D. L. March 20 1760.
Author— D. L. Feb. 5 1757— C. G. Oct. 17 1770— D. L. Maidi
U 1771 _ D.L. March 21 1774 — D.L. March 16 1779
— C. G. April 21 1779— Hay. June 1 1781— C. G. Dee.
11 1790.
Author's Farce and Pleasures of the Town — Hay. 1730 — ^D. L.
Jan. 19 1734— C. G. March 28 1748.
Author's Triumph — see vol. 10 p. 166.
A Year in an Hour— Hay. June 17 1824.
B.
Bachelors->see vol. 10 p. 216.
Digitized by VjOOQ IC
INU£X« IX
Baddeley Mr8«— see end of D. L. 1780-1781.
Baddele/s characters— D. L. 1794-1795.
Baker- Bath Feb. 28 and April 10 1820.
Ball — see vol. 9 p. 553.
Banditti— T. K. 1686.
Banishment of Cicero — see Cumberland 1812-1813.
Banished Doke — see vol. 1 p. 468.
Bank Note— C. 6. May 1 1795.
Bankrupt— Hay. July 21 1773.
Bannian Day — Hay. June 11 1796.
Bannister Sen. — see Hay. Oct. 16 1804.
Bannister Jun. — his characters — D. L. 1814-1815.
Bantry Bay— C. G. Feb. 20 1797.
Barataria— C. G* March 29 1785— Hay. Aug. 31 1818.
Barbarossa— D. L. Dec. 17 1754— CG. Nov. 1 1770_C. G.
Feb. 2 1779— CG. Dec 13 1784— C. G. Jan- 4 1798—
C. G. Dec. 1 1804 — D. L. Dec. 15 1804 — D. L. May 26
1817— D. L. Dec. 26 1826.
Barber Baron— Hay. Sep. 8 1828.
Barber of Seville— C G. Oct. 13 1818.
Barmecide— D. L. Nov. 3 1818.
Barnaby Brittle— C. G. AprU 18 1781— Hay. June 23 1809.
Baron Kink— Hay. July 9 1781.
Barons of Mbenbergh — see vol. 10 p. 228.
Barresford Mrs. — ^her characters — Hay. 1789.
Barry Mrs. Elizabeth — ^her characters — Hay. 1709-1710.
Barry Mrs. Ann — see Mrs. Crawford.
Barry and Mrs. Dancer acted at the Opera House Hay. in the
summer of 1766.
Barry's characters— C G. 1776-1777.
Barsanti Miss — ^her characters — Hay. 1777.
Bartley Mrs made her 1st app. at C. G. Oct. 2 1805— as Miss
Smith.
Bartholemew Fair — see T. R. 1682— Hay. Aug. 12 1707 —
D. L. June 28 1715— D. L. Oct. 30 1731.
Bartholemew and other Fairs— see vol* 10 p. 158.
Bashaw and Beai^Bath Jan. 25 1822.
Bashful Lover -see 0. G. May 30 1798.
Basil— see Miss Baillie 1811-1812.
Basket Maker— Hay. Sep. 4 1790.
Digitized by VjOOQ IC
X INDEX.
BaMet Table— D. L. Nov. 20 1705. ^
Bastard— gee vol. 10 p. 123.
Bastard Child— see vol. 10 p. 186.
Bateman, or the Unhappy Marriage— «ee rol. 2 p. 275.
Bath, or Western Lass— D. L. 1701.
Bath Unmasked— L. I. F. Feb. 27 1725.
Bath Theatrical Fand— see end of 1829-1830.
Battle of Alcazar — see vol. 10 p. 87.
Battle of BothweU Brigg— C. G. May 22 1820.
Battle of Eddington— C. 6. July 19 1824.
Battle of Hastings— D. L. Jan. 24 1778.
Battle of Hexham— Hay. Aug. 11 1789— C. 6. May 14 1795—
Hay. July 11 1803.
Battle of the Poets— Hay. Jan. 1 1731.
Battle of Poitiers— G. F. March 5 1746-1747.
Battle of Pultawar— C. O. Feb. 23 1829.
Battle of Sedgmoor — see vol. 10 p. 154.
Bays* Opera— D. L. March 30 1730.
Beacon — see Miss Baillie — 1811-1812.
Beacon of Liberty— C G. Oct. 8 1823.
Bean DemolUhed— L. I. F. Feb. 9 1715.
Beaumont and Fletcher — see end of 1777-1778.
Beau's Duel— L.LF. Oct. 21 1702— D.L. April 11 1785.
Beautiful Armenia — see vol. 10 p. 192.
Beauty in Distress— L. I. F. 1698.
Beaux Stratagem— Hay. March 8 I707^L. L F. Nov. 18 1721
— D. L. Sept. 13 1740— D. L. Dec. 22 1742— C. G. June
23 1746— D.L. April 10 1761— D. L. Dec. 1 1767— C.G.
Jan. 5 1774— D. L. Nov. 3 1774— C. G. Feb. 28 1778—
Hay. Aug. 17 1779— C. G. Nov. 19 1785— C. G. Feb. 10
1786— C. G. March 22 1798— D. L. Nov. 20 1802— Hay.
June 21 1810— D. L. June 5 1818— C. G.Nov. 26 1819—
Hay. Oct. 13 1823— C. G. Dec. 31 1828.
Beehive by D. L.C Jan. 19 1811— C. G. June 9 1813.
Before Breakfast— Bath Feb. 25 1828.
Beggar my Neighbour— Hay. July 10 1802.
Beggar on Horseback — Hay. June 16 1785 — Hay. Aug. 8 1797
— D. L. June 14 1814.
Beggar's Bush— see T. R. 1682— for the plot see D. L. Dec.
14 1815.
Beggar*B Daughter of Bethnal Green— D. L. Nov. 22 1828.
Digitized by VjOOQ IC
INDEX* XI
B^pgar'B Opera— L. 1. F. Jan. 29 1728— acted by Children at
L. I. F. Jan. 1 1729— D. L. Jan. 25 1788— €. 6. May 29
1745— D. L. Dec. 12 1747— C. G. Oct. 10 1750— Hay.
Aug. 10 1767— D. L. Nov. 8 1777— Hay. Aug. 8 1781—
C. G. May 18 1789— Hay. Ang. 19 1791— C. G. May S
1796— C. G. June 4 1816— Hay. July 22 1820— D. L.
Not. 4 1820^Bath Jan. 15 1821.
Beggar's Opera was reduced to 2 acts at C. G. March 12 1814.
Beggar's Pantomime — L. I. F. Jan. 3 1737.
Beggar's Wedding— see Hay. 1729— and D. L. July 4 1729.
Begone Dull Care— C. G. Feb. 9 1808.
Behn Mrs.- see vol. 2 p. 79.
Belfille Mrs.— see C. G. Nov. 13 1786.
Belford and Minton— Hay. Ang. 13 1819.
Belisarius— L. I. F. AprU 14 1724.
Bellamira by Sedley— T. R. 1687.
Bellamira, or the Fall of Tunis— C. G. April 22 1818.
Bellamy Mrs.— her characters — D. L. 1784-1785.
Belles without Beaux— see vol. 9 p. 162.
Belle's Stratagem— C. G. Feb. 22 1780— D. L. March 22 1790—
C. G. Jan. 8 1808— C. G. Sept. 12 1817— D. L. Jan. 20
1818.
Belle's Stratagem (not acted)— see vol. 10 p. 193.
Belphegor by Wilson— T. R. 1690.
Belphegor by Andrews— D. L. March 16 1778— D. L. Oct. 27
1789.
Belshazzar— see Miss More 1781-1782.
Benefice— see toI. 10 p. 148.
Benefits — ^for origin of them, see end of D. L. 1708-1709.
Benevolent Planters (it came out as Friends) Hay. Aug. 5 1789.
Benjamin Bolus, or Newcastle Apothecary — Hay. Aug. 8 1797.
Ben Nazir— D. L. May 21 1827.
Bensley's characters — D. L. 1795-1796.
Benyowsky — D. L. March 16 1826.
Bernard— see end of C. G. 1795-1796.
Berry— see end of D. L. 1758 1759.
Bertram— D. L. May 9 1816.
Best Bidder— D. L. Dec. 11 1782.
Better late than Never— D. L. Nov. 17 1790.
Better late than Never (not acted)— see vol. 10 p. 195.
Digitized by VjOOQ IC
XU JND£X.
Betterton — his fiiinoiis bt at D. L. April 7 1709 — his chanusten
Hay. 1709-1710.
Betterton Mrs* — ^her characters T. R. 1694.
Betty, or the Country Bumpkins — D. L. Dec* 2 and 6 1732.
Betty Master — his 1st app. as a boy at C. 6. Dec. 1 1804 — his
1st app. as a man at Bath Feb. 15 1812 — C. 6. Nof. S
1812— C. G. June 12 1813^0. 6. June 6 1815— Bath
March 28 1815— Bath Dec. 6 1822.
BickerstafiTs Burial — D. L. March 27 1710— acted as Custom of
the Country D. L. May 5 1715.
Bickersta£F*s Unburied Dead^-L. 1. F. Jan. 14 1743 — C. G.
April 27 1748.
Bicknell Mrs. — her characters D. L. 1722-1723.
Bill of Fare— Hay. June 15 1822.
Biographia Dramatica— see vol. 8 p. 327.
Bird in a Cage— C. G. April 24 1786— for the dedication to
Prynne, see vol. 9 p. 546.
Birds without Feathers — Hay. Oct. 1 1824.
Birthday, or Pnnce of Arragon — Hay. Aug. 12 1783.
Birthday, by Dibdin— C. G. April 8 1799— Hay. Sep. 3 1600l-
Hay. Sep. 5 18l4_C. G. Dec. 6 1825.
Birth of Hercules— see vol. 10 p. 181.
Birth of Merlin— see vol. 10 p. 60.
Biter— L. I. F. Dec. 4 1704.
Blackamoor Washed White—D. L. Feb. 1 and 5 1776.
Blackamoor's Head— D. L. May 16 1818.
Black Beard— Bath Jan, 18 1816.
Black-eyed Susan— Bath Nov. 18 1829.
Black Prince— T. R. Oct. 19 1667.
Blacksmith of Antwerp-C. G. Feb. 7 1785— D. L. Oct. 3 1816.
Blanchard Thomas-see end of C. G. 1793-1794.
Blanchard William— his 1st app.— see C. 6. October \ 1800.
Bhmd Mr8.-see D. L. July 5 1824.
Blazing Comet— see vol. 10 p. 258.
Blind Burgain— C. G. Oct 24 1804.
Blind Beggar of Bethnal Green— D. L. April 3 1741.
Blind Boy— C. G. Dec. 1 1807— D. L. June 20 1826.
Blind Girl-C. G. April 22 1801.
Blind Lady — see vol. 10 p. 135.
Bloody Banquet — see vol. 10 p. 98.
Bloody Duke — see vol. 1 p. 468.
Digitized by VjOOQ IC
INDEX. XIll
Blae Beard, by Colman — D. L. Jan. 93 179B — C. G. Feb. 18
1811, with horses — C.6. June 2 1825.
Blue Derils— C. 6. April 24 1798— Hay June 12 1798.
Boadicea, by Hopkins — L. I. F. 1697.
Boadicea by Glorer— D. L. Dec 1 1753.
Boarding House — Bath March 3 1812 — D. L. June 5 1817.
Boarding School Romps — D. L.Jan. 29 1733.
Boheme— his characters— L. T. F. 1730-1731.
Bobinet, the Bandit_C. G. Dec. 4 1815.
Bold Beauchamps — see rol. 10 p. 87*
Bold Stroke for a Husband— C. G. Feb. 25 1783— C. 6. May 29
1795— D. L. June 1 1803— C. G. May I 1804— Hay. Oct.
14 1811— D. L. May 27 1815— D. L. May 28 1821— Bath
Feb. 19 1822— Hay. Aug. 15 1828.
Bold Stroke for a Wife — L. I. F. Feb. 3 1718 — L. I. F. April
23 1728— D. L. Jan. 13 1739— C. G. April 28 1746— D. L.
Dec. 26 and 27 1748— C. G. April 8 1758— C. G. Dec 27
1762— D. L. Dec. 28 1763 — C. G. Dec 28 1772 — D. L.
April 29 1777— C. 6. Oct. 7 1778 — C. G. Jan. 2 1787 —
Hay. Oct. 29 1793 — D. L. Oct. 19 1796 — Hay. June 11
1810— D. L. Oct. 25 1813— C. G. Jan. 3 1826.
Boman— see D. L. 1738-1739.
Bombastes Furioso — Hay. Aug. 7 1810.
Bondman — D. L. June 8 1719 — altered by Cumberland, C. G.
Oct. 13 1779.
Bonds without Judgments — C. G. May I 1787.
Bondnca, badly altered, was revived at D. L. 1696 — acted at
D. L.Feb. 12 1706 and June 9 1731.
Bonduca, altered by Colman — see Hay. July 30 1778 — C. G.
April 24 1795— C. G. May 3 1808.
Bonifacio and Bridgetina — C. G. March 31 1808.
Bon Ton— D. L. March 18 1775— Hay. Aug. 18 1777- C. G.
Nov. 20 1789— Hay. Aug. 31 1791— D. L. Oct. 17 1796—
D. L. July 5 1815 — C. G. Feb. 23 1819 — D. L. Nov. 23
1819— C. G. June 6 1827.
Booth Barton— his characters— D. L. 1727-1728.
Booth Mrs.-D. L. 1732-1733.
Booth Lucius Junius— C. G. Feb. 12 1817— Bath May 13 1817.
Botheration^C G. May 8 1798.
Bottle Imp— C. G. Oct. 17 1828.
Boutel MrSiF— her characters L. L F. 1696.
Bowen's characters — D. L. 1717-1718.
Bow Street Opera— see vol. 10 p. 188.
Digitized by VjOOQ IC
XIV INDEX.
Box-Lobby ChaUenge^Hay. Feb. 22 1794.
Box-Lobby Loungers— D. L. May 16 1787.
Boy of Santillane— D. L. April 16 1827.
Bracegirdle Mrs. — her characters — Hay. 1706-1707.
Bradshaw Mrs.— her characters — D. L. 1713-1714i.
Braganza^D. L. Feb. 17 1775— D. L. March 16 1782 — D. L.
May 24 1785_D, L. Oct. 20 1785.
Brand Miss Hannah— D. L. G. Jan. 18 1792.
Brave Irishman— G. F. Jan. 31 1746— D. L. May 14 1770— Badi
May 21 1783.
Brazen Bast— C. G. May 29 1813.
Brennoralt— T. R. March 5 1668— for the plot see vol. 10 p. 67.
Brereton— see end of D. L. 1784-1785.
Bridal Ring— C. G. Oct. 16 1810,
Bride C— see end of D. L. 1705-1706.
Bride of Abydos— D. L. Feb. 5 1818.
Bride of Lammermoor — Bath March 11 1826.
Bridgewater— see C G. 1753-1754.
Brigand— D. L. Nov. 18 1829.
Britain's Glory, or Trip to Portsmouth— Hay. Aug 20 1794.
Britain's Jubilee, acted by D. L. Company, Oct. 25 1809.
Britannia, or Royal Lovers — 6. F. Feb. 11 1734.
Britannia by Mallet— D. L. May 9 1755.
British Enchanters— Hay. Feb, 21 1706— Hay. Feb. 22 1707,
with alterations.
British Fortitude, and Hibernian Friendship — C. G. April 29
1794— C. G. March 5 1799.
British Heroine— C. G. May 5 1778.
British Loyalty, or Squeeze at St. Paul's— D. L. April SO 1789.
British Sailor, or Whimsical Ladies— Bath May 9 1786.
Briton— D. L. Feb. 19 1722.
Britons Strike Home — D. L. Dec. 31 1739 — D. L. Mwdi 27
1779.
Broad but not Long— C. G. June 15 1814.
Broken Gold— D. L. Feb. 8 1806.
Broken Heart — see Ford's works — 1811.
Broken Sword— C. G. Oct. 7 1816.
Brooke's Plays— see end of 1777-1778.
Brother and Sister— C. G. Feb. 1 1815— D. L. June 17 1823.
Brothers by Shirley— see vol. 9 p. 559.
Digitized by VjOOQ IC
INDEX. XV
Brotherg by Dr. Yoang — D. L. March 3 1753.
Brothers by Camberhind — C. 6. Dec. 2 1769 — Hay. July 24
1771— C. G. Jan. 15 1778 — C. G. April 25 1787 — D. L.
Nov. 4 1800— Bath May 23 1812.
Brown Mrs^— her Ist app. at C. 6. Jan. 28 1786.
Brunton— see C. G. Sep. 22 1800.
Bmnton Miss Ann — see Mrs. Merry.
Bmnton Miss— see Bath April 21 1823— afterwards Mrs. Yates
Brnte Sir John — Quin Garrick and Cibber — see C. G. April 20
1749.
Bmtos of Alba T.— D. G. 1678.
Brutns of Alba Op.— D. L. 1696.
Brutns by Payne— D. L. Dec. 3 1818.
Buchanan Mrs.^her characters — G. G. 1735-1736.
Budget of Blnnders— C. G. Feb. 16 1810.
Building on the Stage at Benefits — see D. L. 1762-1763.
Bulkley Mrs. — see Barresford.
Bullock Christopher— his characters _L. I. F. 1721-1722.
BuUock Mrs— see C. G. 1734 1735.
Bullock William— his last bt. C. G. Jan. 6 J 739 — his characters
at end of season.
Bulls and Bears— D. L. Dec. 1 1715.
Bunn Mrs. — nuide her 1st app. at D. L. May 9 1816 — as Miss
Somerrille.
Buonaparte, or the Freebooter — see vol. 10 p. 226.
Buonaparte's Invasion of Russia — Bath Nov. 6 1826.
Burgomaster of Saardam— C. G. Sep. 23 1818.
Bury Fau-— T. R. 1689— D. L. April 10 1708— L. I. F. Oct. lO
1716.
Busiris— D. L. March 7 1719— G. C. March 22 1756.
Bussy D'Ambois— T. R. 1691.
Busy Body— D.L. May 12 1709— Hay. Oct. 11 1709— L. I. F.
Jan. 28 1730— D. L. Feb. 27 1735— Hay. Aug. 21 1755—
D. L. Dec. 2 1758 — C. G. March 22 1759 — C. G. Oct. 5
1762— D. L. Jan. 24 1783— C. G. Dec. 2 1790— Hay. Oct.
6 1793— D.L. Dec. 8 1802 — D. L. Jan. 3 1816— -Hay.
Sep. 3 1824.
Buthred— C. G. Dec. 8 1778.
Butler Mrs.— see L. I. F. 1742-1743.
Buxom Joan— Hay. June 25 1778— C. G. April 22 1780.
Digitized by VjOOQ IC
XVI INDBX.
c
Cabal and Love — see C. 6. May 4 1803.
Cabinet— C. G. Feb. 9 1802— D. L. Nov. 12 1805.
Cady of Bagdad— D. L. Feb. 19 1778.
C»8ar and Pompey — see vol. 9 p. 585.
Csesar Borgia— D. G. 1680— Hay. Aug. 19 1707— D. L. Jan. 3
1719.
CsBsarin jdBgypt— D. L. Dec. 9 1724.
C»lia, or Perjured Lover—- D. L. Dec. 11 1732.
Caernarvon Castle— Hay. Aug. 12 1793.
Caflfres, or Buried Alive— C. G. June 2 1802.
Cain— see Lord Byron 1820-1821.
Cains Gracchus — D. L. Nov. 18 1823.
Cains Marius—D. G. 1680— Hay. Feb. 18 1707— D. L. Feb. 21
1715— D.L.May 10 1717.
Calaf— see vol. 10 p. 244.
Caleb Quotem and his Wife— aee Hay. July 6 1796.
Caligula^D. L. 1698.
Calisto — see vol. 1 p. 180.
Calypso— C. G. March 20 1779.
Cambro-Britonsy or Fishguard in an Uproar — C. G. May 31
1797.
Cambro-Britonsy by Boaden — ^Hay. July 21 1798*
Cambyses— L. I. F. 1667.
Camp— D. L. Oct. 16 1778— C. G. April 22 1800— D. L. Oct 8
1803.
Campaigners — D. L. 1698.
Campaign, or Love in the East — C. G. May 12 1785.
Campaspe— see G. F. Feb. 23 1731.
Campbell Mrs. — ^formerly Miss Wallis — returned to the stage at
C. G. Feb. 20 1813.
C and Country — see vol. 10 p. 165.
Candidate — Hay. Aug, 5 1782.
Candlemas Day — see Hawkins L772-1773.
Cantabs— C. G. May 21 1787.
Canterbury Guests— T. R. 1694.
Capricious Lady F.— D. L. May 10 1771.
Capricious Lady C C. 6. Jan. 17 1783— C. 6. Feb. 25 178a
Capricious Lovers, by Odingsells — L. I. F. Dec. 8 1725.
Digitized by VjOOQ IC
INDEX. XVU
Capricious LoTers, by Lloyd — D. L. Not 28 17M«— D. L. April
24 1782.
Captain — see 6th vol. of Beaamont and Fletcher 1778.
Captain Cook— C. 6. March 24 1789.
Captain O'Blunder, or Brave Irishman— O. F. Jan. 31 1746.
Captive F.— Hay. 1769— D. L. March 16 1771.
Captive Monarch — see vol. 10 p. 201.
Captive (Mono-Drama)— C. 6. March 22 1803.
Captive of Spilborg— D, L. Nov. 16 1798.
Captives, by Gay— D. L. Jan. 15 1724.
Captives by Delap— D. L. March 9 1786.
Capuchin — Hay. Aug. 17 1776.
Caractacus— C. G. Dec. 6 1770— C. G. Oct. 22 1778.
Caravan, or Driver and his Dog — D. L. Dec. 5 1803.
Cardinal— see T. R. 1682.
Careful Servant and Careless Master— C. G. Oct. 29 1816.
Careless Husband- D. L. Dec. 7 1704 — Hay. Nov. 7 1706—
— C. G. Feb. 14 1734— D. L. March 20 1742— C. G. Feb.
9 1745— D. L. March 19 1750— C. G- Jan. 7 1755— C. G.
March 24 1759— D. L. Sep. 24 1763— D. L. Jan. 25 1770—
C. G. Feb. 18 1778 — C. G. Feb. 10 1781 — D. L. Jan. 1
1790.
Careless Lovers — D. G. 1673.
Cares of Love — Hay. Aug 1 1705.
Carey's Imitations — see end of D. L. C. 1791*1792.
Carib Chief— D. L. May 13 1819.
Carmelite — D. L. Dec. 2 1784.
Carnival — T. R. 1664— for the plot, see vol. 10 p. 248.
Carnival of Venice— D.L. Dec 13 1781.
Carron Side— C. G. May 27 1828.
Cartouche, or French Robber— L. I. F. Feb. 18 1723.
Case is Altered— see vol. 6 of Ben Jonson 1815-1816.
Casket— D. L. March 10 1820.
Castellan's Oath— C. G. June 4 1824.
Castle of Andalusia—C. G. Nov. 2 1782 — C. G. April 1 1788—
C. 6. Sep. 27 1799— C. G. June 20 1826.
Castle of Glyndower— D. L. March 2 1818.
Castle of Montval— D. L. April 23 1799— Bath May 19 1812.
Castle of Morsino-see vol. 10 p. 232.
Castle of Paluzai-C. 6. May 27 1818.
d
Digitized by VjOOQ IC
XYUl INDEX.
Castle of Sorrento—Hay. July 17 1799— C 6. April 26 1600 —
D. L. May 13 1805.
Castle of Woiider»— D. L. March 8 1819.
Castle Spectre— D. L. Dec 14 1797 _ Hay. August 22 1803 —
C. 6. May 30 iSO^^-acted by C. 6. C. May 19 1809— jC. G.
July 2 1812— Hay. August 19 1815— C. 6. Dec 10 1818—
D.L.MarcliS0l822.
Caswallan— D. L. Jan. 12 1829.
Cataract of the Ganges— D. L. Oct. 27 1823— Bath April 2 1824.
Catch him who can-Hay. Jane 12 1806— C. G. June 8 1814.
Catharine and Petmchio — D. L. March 18 1754— D. L. Jan. 21
1756— C. G. March 26 1757— C. G. April 18 1774 — D. L.
May 19 1781 — D. L. March 13 and May 5 1788 — C. 6.
Nov. 21 1796.
Catiline-T. R. Dec. 19 166B.
Catiline, by Croly-see toI. 10 p. 236.
Catley Miss -see end of C. G. 1783-1784.
Cato— D. L. April 14 1713— L. I. F. April 20 1730— G. G. Jan.
18 1734— D. L. Sep. 14 1734— at Leicester House 1749 —
C. G. Nov. 27 1754— D. L. Dec 11 1766— C. G. April 16
1765 — C. G. Oct. 21 1775 — Hay. Aug. 14 1777 — D. L.
April 28 1784— C. G. May 31 1797— C. G. Dec 23 1802 —
D. L. Feb. 1 1809— C. G. Jan. 26 1811 — with change of
scenes.
Cato of Utica— L. I. F. May 14 1716.
Caulfield's Im\)ations— see Bath May 13 1806.
CaTo of Trophonius— D. L. May 3 1791.
Celadon and Florimel — (altered from Comical Lovers) — D. L
May 23 1796.
Centlivre Mrs.— see L. L F. Nov. 30 1723.
Cent per Cent C. G. May 29 1823.
Chabot, Admiral of France — see voL 9 p. 552.
Chaoe— see vol. 10 p. 187.
Chains of the Heart— C. G. Dec 9 1801.
Challenge for Beauty— see Old Plays 1814-1815, vol. 6.
Chambermaid— D. L. Feb. 10 1730.
Chances, by Duke of Buckingham— T. R. Feb. 5 1667 — D. L.
Feb. 24 1708— C. G. April 12 1738— D. L. Nov. 28 1739—
D. L. Nov. 7 1754— D. L. April 21 1773 — Hay. Aug. 19
1777 — D. L. Dec. 4 1777 — C G. Dec 11 1779 _ D. L.
May 14 1782— C G. June 1 1791 -- C. O. March 29 1806
— D. L. Feb. 6 1808.
Changeling- see D. L.Nov. 7 1789.
Digitized by VjOOQ IC
INDEX* . XIX
Change of Crowns^T. R. April 15 1667.
Change Partners— D. L. March 10 1825.
Changes, or Love in a Maie — ^T. R. May 1 1667 — for the pbt,
see ToL9p.546.
Chaplet— D. L. Dec. 2 1749.
Chapman's characters--C. G. 1746-1747.
Chapter of Accidents— Hay. Ang. 5 1780— D. L. May 8 1781—
C. G. April 28 1782— D. L. C. Feb. 14 1793— C. G. Sep. 25
1795— D. L. Jan. 14 1797— D. L. June 8 1802— C. G. Oct.
15 1805— D. L. April 2 1816— D. L. Nor. 13 1823.
Charitable Association — see Brooke 1777-1778.
Charity Boy— D. L. Nov. 5 1796.
Charke Mrs.—see Hay. 1759.
Charles the Bold— D. L. Jane 15 1815.
Charles Ist— L. I. F. March 1 1737— D. L. May 9 1740l— C. G.
April 2 1781— see Bath Jan. 31 1820.
Charles 2d— C. G. May 27 1824.
Charles 2d and Sir John Coventry — ^vol. 1 p. 99 — for his death,
&c.— see end of T. R. 1684.
Charies 8th-D. G. 1671.
Charles 12th-D. L. Dec. 11 1828.
Chatterley— see Bath Nov. 20 1810.
Chanbert— see vol. 10 p. 198.
Cheap Living-D. L. Oct. 21 1797.
Cheats — see vol. 1 p. 34 — L. L F. Nov. 26 and May 29 1720-
1721— L. I. F. Dec 11 1727.
Cheats of Scapin — D. G. 1677 — Hay. Dec. 3 1705 — L. I. F.
May 21 and Nov. 13 1724 — C. G. Nov. 13 1738 — C. 6.
Jan. 15 1776— C. G. May 18 1789— Hay. Joly 13 1808 —
C.G.Nov. 6 1812.
Chelsea Pensioner— C. G. May 6 1779.
Cheque on my Banker— (compressed to 8 acts from Wanted a
Wife)— D. L. Aug. 13 1821.
Cherokee— D. L. Dec. 20 1794.
Chetwood's bt.— G. G. Jan. 12 1741.
Child of Chance— Hay. July 8 1812.
Childof Nature— C. G. Nov. 28 1788— Hay. Aug. 11 1790U..
— D.L. April 16 1795.
Children in the Wood— Hay. Oct. 1 1793— C. G. Oct. 16 1806
— D. L. Jan. 16 1818.
Children, or Give them their Way— D. L. April 28 1800.
Digitized by VjOOQ IC
XX INDBZ.
Chimera^L. I. F. Jan. 19 1721.
Chimney Comer— D. L. Oct. 7 1797.
Chinese Festiral— D. L. Not. 8 1755.
Chinese Orphan — see D. L. April 21 1759.
Chip of the Old Block— Hay. Aug. 22 1815.
Chit Chat, by Kill^^w— D. L. Feb. 14 1719.
Chit Chat (Interlude)— C. 6. April 20 1781.
Choice, by Murphy^D. L. March 23 1705— C. O. March 30
1772.
Choice of Harlequin— C. 6. Dec. 26 1781.
Choleric Fathers— C.G. Not. 10 1785.
Choleric Man— D. L. Dec. 19 1774.
Christian tum*d Turk — see toI. 10 p. 94.
Christian Hero— D. L. Jan. 13 1736.
Christmas Tale— D. L. Dec 27 1778.
Chrononhotonthologos — Hay. Feb. 22 1734— C. 6. April 21
1772— C. G. Mays 1779— Hay. Aug. 13 1783— Hay. Aug.
27 1788— Hay. Aug. 9 1806— D. L. June SO 1816.
Cibber Colley — for his quarrel with Pope, see D. L. Jan. 16
1717 — for his pleading against Sir Richard Steele, see Feb.
17 1728 — for his conduct as manager, see end of D. L.
1731-1732 — ^for his retirement and characters, see 1732-1733
— ^for his retnm to the stage, see D. L. Oct. 31 1734— 4or
his final retirement, see C G. 1744-1745 — ^for his alteration
of King John, see Historical Register at Hay. 1737.
Cibber Mrs. — Theophilus Cibber s 1st wife— see D. L. 1732-1733.
Cibber Mrs.— his 2d wife— her characters— D. L. 1766 — ^1768.
Cibber Theophilus— account of him and his wife at end of D. L.
1737-1738 — ^his death and characters, Hay. 1758.
Cicilia and Clorinda — see vol. 1 pp. 391-2.
Cinderella, or the Fairy, &c, — ^C. 6. April 13 1830
Cinna's Conspiracy— D. L. Feb. 19 1713.
Cinthia and Endimion — D. L. 1697.
Circassian Bride— D. L. Feb. 23 1809.
Circe— D. G. 1677— L. I. F. July 14 1704— L. I. F. April 11
1719.
<litizen— D. L. July 2 1761— C. G. Not. 15 1762— C. 6. Dec 5
1775^Hay. June 30 1777— D. L. April 5 1780-^a G. Feb.
23 1788— D. L. Oct. 28 1813— C. G. June 2 1818.
Citizen's Daughter — see vol. 10 p. 190.
Citizen turned Gentleman, or Mamamouchi — D. G. 1671.
City Bride— L. I. F. 1696.
Digitized by VjOOQ IC
INDEX. XXI
City Cofltoms^-D. L. June 30 1703*
City Farce— flee vol. 10 p. 166.
City Heiress— D. G. 1681— Hay. July 10 1707.
City Lady— L. l.F, 1697.
City Madam— D. L. April 29 1783 — see Riches.
City Match— see D. L. April 15 1755.
City Night-Cap — see Dodsley 1744— vol- 9.
City PoUtics— T. R. 1683— D.L. July 11 1712— L. L F. July
10 1717.
City Ramble, or Playhouse Wedding— D. L. Aug. 17 1711.
City Ramble, or Humours of the Compter — L. 1. F. June 2 1715.
City Wit— see vol. 10 p. 3tf.
Clandestine Marriage— D. L. Feb. 20 1766— C. G. Jan. 9 1768
— C. G. Nov. 30 1770— D. L. Nov. 20 1775— Hay. Aug.
19 1784— C.G. Nov. 27 1789_D. L. June 15 1798— D. L.
May 6 1802— D. L. May 22 1804— Hay. Sep. 3 1806—
D. L. C. May 14 1810— C. G. Sep. 15 1813— D.L. June 2
1817— C. G. Sep. 18 1818 — Hay. Sep. 11 1824 — C. G.
Jan. 9 1828.
Clancy Dr., when blind, acted in CEdipus— D. L. April 2 1744.
Clari— C. G. May 8 1823.
Claridlla— see vol 1 p. 36 and p. 391.
Clarke's characters— C. G. 1785-1786.
Clementina— C. G. Feb. 23 1771.
Clemenza^Bath June 1 1822.
Cleomenes— f. R. 1692— D. L. Aug. 8 1721.
Cleone— C. G. Dec 2 1768— Bath Dec 21 1782— D. L. Nov.
22 and 24 1786.
Cleonice— C. G. March 2 1775.
Cleopatra by Daniel — see voL 9 p. 581.
Cleopatra by May — see vol. 10 p. 49.
Clive Mrs. — ^her characters — D. L. 1768-1769.
Cloacina — see vol. 10 p. 190.
ClodL Case— C. G. May 2 1777.
Club of Fortune Hunters — D. L. April 28 1748.
Clun— see T. R. Aug. 3 1664.
Coalition by Graves — ^see vol. 10 p. 201.
Coalition by Macnally— C. G. May 19 1783.
Coalition between Patentees of D. L. and C. G. — see D. L.
1778-1779.
Cobler— D. L. Dec 9 1774.
Digitized by VjOOQ IC
ZXU INDSX.
Cobler of Casdebury— C. 6. April 27 1779.
CoUer ofPmtoo, by BoDock— L. I. F. Jan. 24 1716— C. 6.
April 7 1738— C. 6. May 23 1759.
Cobler of PrestoD, by Johiuoii— D. UFeb. 3 1716--D. L. Sept
29 1817.
Cobler's Opera^L. I. F. April 26 1728— C. 6. April 24 1739.
Coffeehoiuey by Miller— D. L. Jan. 26 1738.
Coffeehoiue Politician — h. I. F. Dec 4 1730.
Collier Jeremy — bis View of tbe Immorality and Profimenen of
the Stage— «ee end of 1697.
Collier William — gets possession of D. L. No^. 22 1709 — ex-
torts a pension from tbe actors in 1711-1712 — ^becomes a
non-entity in 1714-15.
CoUini— 1st app. at D. L. Oct. 2 1802— died in May 1806.
Cobnan tbe Elder sold bis share of the Pu»nt of C. &— at end
of 1773-1774.
Colman tbe Younger — for bis Random Records see tbe end of
Hay. 1830.
Colonel— C. 6. May 4 1830.
Colnmbns— C. 6. Dec 1 1792— C. O. June 25 1816— Bath
May 5 1823.
Combat of Love and Friendship— see ?ol. 10 p. 127.
Come and See — Hay. July 18 1814.
Comedy of Errors— D. L. Not. 11 1741— C. 6. April 24 1762
— C. 6. June 3 1793— C. 6. June 2 1798— C. 6. Jan. 9
1808 — C. 6. April 17 1811 — ^for an account of die play,
see G. 6. Jan. 22 1779.
Comedy of Errors, as Opera— C. O. Dec 11 1819— D. L. Jnne
1 1824.
Come if yon Can — Hay. June 14 1824.
Comer— Bath Dec. 16 1813— C. O. Oct. 4 1819.
Comfortable Lodgings — D. L. March 10 1827.
Comical Gallant— D. L. 1702.
Comical Lovers, or Marriage a- la-Mode— Hay* Feb. 4 1707—
D. L. Oct. 8 1720— D. L. March 10 1746— D. L. March 9
1752.
Comical Revenge, or Lore in a Tub — L. I. F. 1664 — Hay. Dec
14 1706— D. L. Jan. 10 1713— D. L. Sept. 29 1720— D.L.
Kov. 26 1726— for the plot, see vol. 10 p. 252.
Comical Resentment — ^C. 6. March 26 1759.
Commissary— Hay. 1765— C. 6. May 1 1771— Hay Jirae 17
1774— C. 6. April 1 1788— Hay. June 25 1793.
Digitized by VjOOQ IC
INDEXi XX11I
CkNDmiMee--T. R. 1665— Hay. Deo. 2 1706— D. L. Oct. 29
1720— L. 1. F. March 21 1732_D. L. Jan. 6 1742— C. 6.
Oct. 11 1749— D.L. Dec 29 1760— D. L. April 21 1778
— D. L. Feb. 7 1788.
Committee Man Curried— see vol. 10 p. 121.
Commonwealth of Women — T. R. 1685.
Comparison between the two Stages— «ee end of 1702.
Compromise— L. 1. F. Dec. 15 1722.
Comas in 3 acts as first piece— -D. L. March 4 1738 — C. 6.
March 3 1744— D. L. Nor. 28 1752^0. G. April 9 1755
— C. 6. Jan 18 1760— redaced to 2 acta C. G. Oct 16 1773
— D. L. May 1 1775— C. G. March 16 1776— D.L. Deo. 22
1777— C. G. March 23 1784— D. L. May 15 1786-jC. G.
April 20 1803— C. G. June 5 1812— C. G. May 12 1829.
Conceited Pedlar — see vol. 10 p. 47*
Confederacy— Hay. Oct. 30 1705 — D. L. Dec. 17 1709— L. I. F.
March 28 1720— L. I. F. Dec 16 1725— D. L. Dec 8 1739
— D. L. Feb. 24 1746— D. L. Oct. 27 1759— D. L. Dec. 8
1769— C. G. Nov. 16 1770— D. L. April 9 1778— Hay.
Aug. 21 1781— Hay. June 11 1785— D. L. Nov. 24 1796
— C. G. Dec 16 1807— D. L. C. Jan. 12 1810 — C. G.
April 10 1810— D. L. May 20 1817— C. G. Nov. 10 1819
— D. L. Nov. 2 1825.
Confederates, by Breval — see D. L. Jan. 16 1717.
Confession — see Cmnberland's Posthomoos Works — 1812-1813.
Confined in Vain— see vol. 10 p. 226.
Conflict, or Love, Honour and Pride— «ee vol. 7 p. 399.
Congreve — see Old Batchelor T. R. 1693, and Way of the
World L. I. F. 1700.
Conjectures — Hay. June 15 1830.
Conjuror F.—D. L. April 29 1774.
Connoisseur— D. L. Feb. 20 1736.
Conquest of Algiers— (altered from Ramah Droog)— Bath Nov.
16 1816.
Conquest of Canada— see vol. 10 p. 184.
Conquest of China— D. G. 1674.
Conquest of Granada^T. R. 1670— D. L. March 5 1709.
Conquest of Spain— Hay. May — 1705.
Conquest of Taranto — C. G. April 15 1817.
Conscience— D. U Feb. 21 1821.
Conscience, by Iffland — see vol. 10 p. 221.
Digitized by VjOOQ IC
XXIV INDEX*
Consciout LoTew-D. L. Nov. 7 1722— L. 1. F. Kov. 23 17S0
— D. L. Feb. 9 1736 — C. G. March 9 1741— D. L. March
12 1747— D. L. Oct. 8 1751— C. G. April 25 1758— D. L.
Oct. 2 1759— C. G. Oct. 5 1763— D. L. AprU 4 1766— C. G.
Oct. 7 1774— 1>. L. Oct. 25 1776— D. L. Jan. 6 1780—
C. G. March 27 1787— D. L. Dec. 20 1796— C. G. Nov. 18
1797— C. G. Jan. 16 1810— Bath April 26 1818.
Consequences — see vol. 10 p. 201.
Conspiracy, by Jephson — ^D. L. Nov. 15 1796.
Conspiracy, by H. Killegrew — see vol. 10 p. 109.
Conspiracy, by Whitaker— D. G. 1680.
Conspiracy Discovered, or French Policy Defeated— D. L. Ang. 4
1746.
Conspiracy of Byron — see vol. 9 p. 583.
Constant Couple— D. L. 1699— L. I. F. March 22 1731— D. L.
March 22 1739-C. G. Nov. 21 1740— D. L. Jan. 4 1742
_D. L. March 17 1743— D. L.Dec. 12 1749— C. G. Nov.
1 1754—1). L. April 1 1762— D. L. March 12 1771— D. L.
May 8 1776— D. L. April 16 1779— C. G. March 29 1785
—D. L. May 2 1788— Hay. July 30 1789— D. L. Oct. 9
1805— Bath Dec. 6 1817— Hay. Aug, 9 1820.
Constantino, by Lee— T. R. 1684.
Constantine, by Francis— C. G. Feb. 23 1754.
Constantino Paleologus — see Miss Bullie 1811-1812.
Constant Lovers— see voL 2 p. 529.
Constant Maid— see vol. 9 p. 557.
Constant Nymph— D. G. 1677.
Consultation— Hay. April 24 1705.
Contending Brothers— see Brooke 1777-1778.
Contented Cuckold— see vol. 10 p. 149.
Contract, by L. I. F. April 30 1731.
Contract, by Dr. Franklin— Hay. June 12 1776.
Contract, or Female Captwn— D. L. April 5 1779.
Contrariety— see vol. 10 p. 204.
Contrast, or Jew and Married Courtezan— D. L. May 12 1775.
Contrast— 1790-.48ee vol. 10 p. 199.
Contrivances— D. L. Aug. 9 1715— D. L. Aug. 5 1729— D. L.
ll^ nT746-C. G. March 25 1761~D. L. April 20 1761
_C. G. April 23 1773— C. G. May 6 1785— Wath June 16
1819.
Conway's characters— Bath 1820-1821.
Digitized by VjOOQ IC
IND£X« XXV
Cooke'g characters^C. G. 1009.1810.
Cooper — Hay. Jane 1772.
Cooper John — ^made his 1st app. at D. L. Nov. 1 1820.
Coquet, by Molloy— L. I. F. April 19 1718.
Coriolanns, by Tate — ^see Ingratitude of a Commonwealth — T. R.
1682.
Coriolanus, by Dennis — see Invader of his Country^-D. L. Nov.
11 1719.
Coriohnus, by Thompson— C. G. Jan. 13 1749.
Coriolanns, by Sheridan— C. G. Dec. 10 1754— C. G. March 14
1768.
Coriolanns, by J. P. Kembl»— D. L. Feb. 7 1789— D. L. May 29
1804— C. G. Nov. 3 1808— Hath Jan. 14 1817.
Coriolanus, by Shakspeare (only) — D. L. Jan. 24 1820.
Cornelia^— see 11th vol. of Dodsley, 1744.
Cornish Comedy— D. G. 1696.
Cornish Miners — Bath March 19 1829.
Cornish Shipwreck— Bath June 12 1813.
Cornish Squire— D. L. Jan. 3 1734.
Coronation, by Shirley — see vol. 9 p. 558.
Coronation of George the 4th — July X9 1821 — D. L., G.G. and
Hay. were opened gratuitously to the public.
Coronation of David — see vol. 10 p. 184.
Corsicanft— see vol. 10 p. 209.
Cortes— C. G. Nov. 5 1823.
Costly Whore— see vol. 10 p. 106.
Cottage, by Smith 1796— see voL 10 p. 204.
Cottage Maid— C. G. June 3 1791.
Cottagers (C. O.) by Miss Ross— see vol. 10 p. 198.
Cottagers— see end of C. G. 1767-1768— and C. G. Nov. 12
1779.
Cottagers, by Carey— see vol. 10 p. 184.
Count de ViUeroi— see vol. 10 p. 201.
Count Koenigsmark— see vol. 10 p. 219.
Counterfeit Bridegroom — D. G. 1677.
Counterfeit, by Franklin— D. L. March 17 1804.
Counterfeit Heiress— (F. from Love for Money) — C. G. April 16
1762.
Counterfeito C— D. G. 1678.
Counterfeits F — D. L. March 26 1764.
Digitized by VjOOQ IC
:tJ[yi INDBX.
Coontess of Salisbury— Hay. Aug. 81 1767— D. L. Jan. 20 1768
— C. G. Oct. 26 and Nov. 14 1768—0. Gw April 7 1777—
D. L. March 16 1770— Hay. Aug. 14 1780— D.L. March6
and April 13 1784— D. L. Dec 8 1797-
Count of Anjon— D. L. May 2 1816.
Count of Burgundy— C. 6. April 12 1799.
Count of Narbonne — C. 6. Nov. 17 1781 — D. L. MarekO
1787— C. G. March 22 1790— D. L. April 30 1798— C. G.
Nov. 5 1807.
Country Attorney — Hay. July 7 1787.
Country Captain — see vol. 10 p. 73.
Gauntry Coquet — see vol. 10 p. 178.
Country Giri — D. L. Oct. 25 1706«-D. L. Oct. 18 1785^-^0. 6.
June 16 1790— Hay. Aug, 2 1791— C. G. Nov. 23 1805—
-C. G. May 11 1811- D. L. Nov. 7 1815-C. G. Dec- 6
1828.
Country House— D. L. June 16 1705- C. G. April 18 17S5—
C. G. April 3 1758.
Country Inn— see Miss Baillie^lBi 1-1812.
Country Innocence— T. R. 1677*
Country Lasses— D. L. Feb» 4 17I5~D. L. Jdy 4 and Avf^ 9
1729— G. F. Dec. 8 1734— C. G. March 27 1739— C. 6.
Jan. 6 1756— C. G. Nov. S6 1763— Bath Dec 7 1813.
Country Madcap— D. L. June 7 1770— C. G. Dec. 12 1770—
C. G. April 14 1777— C. G. May 9 1786.
Country Wake— L. I. F. 1696— Hay. Feb. 18 1710— reduced to
one act at D. L. Oct. 6 1711— as F.— C. G. March 18 1760.
Country Wedding F.— D. L. July 27 1714.
Country Wedding, by Hawker— see L. I. F. May 6 1729.
Country Wedding, or the Cocknies Bit — see ditto.
Country Wife— T. R. 1673— D. L. April 14 1709— D. L. May
18 1715— L. I. F. Oct. 4 1725— D. L. Feb. 4 1785-.^. 6.
Jan. 12 1742— D. L. Nov. 28 1748.
Country Wife, as Farce— D. L. April 26 1765— C. G. Aptfl 13
1768— C. G. Dec 16 1776— C. G. Feb. 7 1786.
Country Wit— D. 6. 1675— D. L. Feb. 6 1708— D. L. Dec 6
1709— D. L. Jan. 20 1727.
Courage Rewarded — see vol. 10 p. 205.
Courageous Turk — see vol. 10 p. 4.
Court and Country, or the Changelings — see vol 10 p. 171.
Court Beggar — see vol. 10 p. 35.
Courtney, Earl of Devonshire- see vol. 10 p. 152.
Digitized by VjOOQ IC
Court of Alexa«der«-0ee vol. 5 p. 288.
Court Secret— T. R. 1682.
Courtship n-kt-Mode—D. L. July 9 1700.
Covent Garden C. by Nabbea see voL 10 p. 6L
Corent Garden differences — between the Proprietoif and 8 Acl#ri
— see end of 1799- 1 800.
Covent Garden opened — Dec. 7 1732 — burnt on the niyht of 39p*
19 1808— new theatre opened Sep. 18 1809.
CoTent Garden Theatre— Dramatic Satfa^ at C. G. AprU 8 1762.
Covent Garden Tragedy — D. L. June 1 1732.
Coventry Act— see toL 10 p. 201.
Cow Doctor — see toI. 10 p. 231.
Coxcomb — T. R. 1682.
Cozeners— Hay. Aug. S 1774— C. G. April 10 1792— D.L.
Not. 8 1800.
Coaening, or Half an Hour in FFaBee--C. G. May 22 1819.
Crawford Mrs.— her characters — C. G. 1797-1708.
Creusap-D. L. April 20 1754.
Crime from Ambition — see vol. 10 p. 220.
Crisis— D. L. May 1 1778.
Critic— D. L. Oct. 29 1779— Hay. Aug. 29 1783— C. 6. Feb.
21 1785— D. L. May 12 1797 — C. 6. April SO 1800—
C. G. May 10 180»_D. L. C. May 22 180IU-C. O. Nor.
6 1818— C. G. June 6 182«->D. h. Dec. 31 1827. ^
Critic upon Critic— see vol. 10 p. 197*
Croiddng (Interiude from Grood-natmred Man^D, L. C. Maj 2
1810.
CroasMs^-^ee roL 10 p. 31.
Cromwell — Life and Death of llioinas Lord CroaiweU «^ ite
YoL 2 p. 530.
Cross Mr»«-^her charaoters— L. L F. 1723-1724.
Cross Partners— Hay. Aug. 23 1792.
Cross Purposes— C. 6. Dec 8 1772--D. U Dec. 10 1789— Cs 6.
Oct. 6 1790i^Bath Jan. 22 1821.
Cross the Prompter— see D. L. April 17 1754.
Crosa' Dramas — see vol. 8 p. 347.
Crotchet Lodge— C. G. Feb. 17 1795-D. L. Dee. 13 1813.
Crowne— see vol. 1 pp. 804, 415— and vol. 2 p. 144.
Cruel Brother — see vol. 10 p. 79.
Cruel Gift— D. L. Dec. 17 1716.
Digitized by VjOOQ IC
XXVni INDEX.
Cruelty of the Spaniards in Pern — ^see toL 1 p. 38.
Cmsade— C. G. May 6 1790.
Cry to-day and Laugh to-morrow — D. L. Nor 29 1816.
Cuckold in Conceit^Hay. March 22 1707.
€nckoId*8 Hayen— T. R. 1685.
Cumberland's Posthumous Plays — 1812-1813.
Cunning Lovers— see vol. 10 p. 128.
Cunning Man— D. L. Nov. 21 1766.
Cupid and Psyche-D. L. Feb. 4 1734.
Cupid*s Revenge- L. L F. 1668.
Cupid's Revenge F.— Hay. July — 1772*
Cupid's Whirligig— see vol. 10 p. 93.
Cure for a Coxcomb — C. O. May 15 1792.
Cure for a Cuckold.— see City Bride— L. L F. 1796.
Cure for a Scold — D. L. Feb. 25 1735— C. 6. March 27 and
April -26 1750.
Cure for Jealousy— L. 1. F. 1701.
Cure for the Heart-Ache — C. 6. Jan. 10 1797 — D. L. Oct. 6
1818.
Cure of Saul-see end of C. G. 1770-1771.
Curfew-D. L. Feb. 19 1807-C. G. March 27 1817.
. Curiosity by Lathom— see vol. 10 p. 222.
Curiosity by King of Sweden— C. G. April 17 1798,
Curiosity Cured— D- L. July 21 1825.
Custom of the Country— revived at T. R. Jan. 2 1667 — for die
plot see Love makes a Man D. L. 1701.
Custom of the Country (Bickerstaff's Burial) — D.L. May 5 1715.
Custom's Fallacy— see vol. 10 p. 226.
Cutter of Colman Street— L. I. F. Dec. 16 1661— L. I. F. Oct
5 1702— D. L. Aug. I 171!^— L. I. F. Jan. 3 1723 —Iw
the plot see vol. 10 p. 62.
Cymbeline; by Shakspeare — Hay. Nov. 8 1744 — C. G. April 7
1746— D. L. Nov. 28 1761 — C. G. Dec. 28 1767 — D. L.
Dec 1 1770— Hay. Aug. 9 1782 — C. 6. Oct. 18 1784 ^
D. L. Nov. 21 1786— D. L. Jan. 29 and March 20 1787 —
C. G. May 13 1800 — C. G. Jan. 18 1806— C. G. June 3
1312 — C. G. May 29 1816 — C. G. June 2 1825 — D. L.
Feb. 9 1829 — for the foundation of the plot, see D. I/. Nov.
28 1761.
Cymbeltne by Brooke — see end of 1777-1778.
Digitized by VjOOQ IC
INDEX. XXIX
Cymbeline, by D'Urfey — nee Injured Princess T. R. 1682 — Cyra-
beline at C. 6. March 20 1738.
Cymbeline, by Hawkins— C. 6. Feb. 15 1759.
Cymon— D. L. Jan. 2 1767 — C. 6. March 27 1784 — D. L. C.
Dec. 31 1791— C. 6. Nov. 20 1815 in 3, and then in 2 acts
— C. G. AprU7 1827.
Cynick— G.F. Feb. 22 and 23 1731.
Cynthia's Revels — see Ben Jonson 1815-1816 — ^vol. 2.
Cyms— C. G. Dec. 3 1768— D. L. March 13 1776— C. 6. May
30 1794.
Cyrus the Great— L. I. F. 169G.
Czar— C. G. March 8 1790.
Czar by Cradock — see vol. 10 p. 244.
Caar of Muscovy— L. I. F. 1701.
D.
Dagobert King of the Franks — see vol. 10 p. 217.
Dame Dobson— T. R. 1684.
Danui— as condemn only — see C. 0. Feb. 29 1812.
Damoiselle — see voL 10 p. 38.
Damon and Daphne— D. L. May 7 1733.
Damon and PhiUida — ^see voL 3 p. 233 — D. L. Feb. 23 1769,
Damon and Pithias— see Ist vol. of Dodsley 1744.
Damon and Pythias— C. G. May 28 1821.
Dance in Macbeth — see Bath April 12 1803.
Dance Miss— «ee end of Bath 1822-1823.
Dancer Mrs. — see Mrs. Crawford.
Daniel— see Miss More 1781-1782.
Daphne and Amintor— D. L. Oct. 8 1765.
Darby's Return— see vol. 10 p. 227.
Darius by Crowne— T. R. 1688.
Darius by the Earl of Sterline — see vol. 10 p. 31.
Darkness Visible— Hay. Sep. 23 1811— C. G. June 10 1813.
Dash, or Who but He ?— D. L. Oct. 20 1804.
Daughter to Marry— Hay. June 16 1828.
Davenport Mrs.-Hsee end of L. I. F. 1663.
Davenport Mrs« — ^her characters — C. G. 1829-1830
David and Bethsabe— see Hawkins 1773.
David and Goliath— see Miss More 1781-1782.
Digitized by VjOOQ IC
XXX INDEX.
David Rbsio— D. L. June 17 1820.
Dsvies T. — for some of his mistakes, see end of D. L. i977-l778.
Dayison Mrs — ^made her Ist app. at D. L. OisL 8 1804, as Miss
Dmicaii.
Df after the Wedding— C. G. May 18 1808— Hay. S^t. 7
1809.
Day at Rome^— C. G. Oct. 11 1798.
Day in London--.D. L. April 0 1807.
Day in Turkey— C. G. Dee. 3 1791.
Days of Yore— C. G. Jan. 18 1796.
Deaf and Dumb — D. L. Feb. 84 1801 — Bath Dec. 3 IMl—
D. L. May 22 1806— Hay. Sept. 2 1B14^D. L. May 97
1816— C. G. Nov. 22 1826.
Deaf Lover — C. G. Feb. 2 1780 — D. L. Feb. 4 1784 ~D.Ii.
Feb. 20 1790-C. G. Feb. 2 1792— C. G. March 9 1819.
Deaf Indeed— D. L. Dec. 4 1780.
Deaf as a Post— D. L. Feb. 15 1828.
Dead Alive— Hay. June 16 1781— Hay. July 27 1797— C. G.
June 8 1814.
Death of Bucephalus — see vol. 7 p. 138.
Death of Captain Cook-^p^. G. March 24 1789.
Death of Cflasar» by Voltaira-^aee vol. 3 p. 96.
Death of Capt. Fanlknor— O. G. May 6 1795.
Death of Robert, Earl of Huntington- see vol. 9 p. 451.
Debauchee, or Credulous Cuckold— D. G. 1677— D. L. Aof . 4
1708.
Debauchees, by Fielding— D. L. June 1 1732.D. JL O0U 17
1745.
Deborah, or a Wife for you all— D. L. April 6 1733.
Debtor and Creditor- C. G. April 20 1814.
Deceiver Deceived^L. I. F. 1698-
December and May— C. G. May 16 1818.
Decoy, or Harlot's Progress— G. F. Feb. 5 1733.
Deception— D. L., Oct. 28 1784.
Deformed Transformed — see vol. 9 p. 140.
Dehme's characters— C. G. 1749-1750.
Dekys and Blunders— C. G. Oct. SO 1802.
Delinquent— C. G. Nov« 14 1805.
Delusion (altered from StudenU of Salunanca)— C. G. MuA 4
1813.
Digitized by VjOOQ IC
INDEX. XXXI
Democratic Rage— «ee toL 10 p. Ml.
Demetrius — see rd. 10 p. 184.
De Monfort or Montfoit-^D. L. April 29 1800— D. L. Nov. 27
1821— Bath Jaae 19 1822.
Dependeat— D. L. Oct. SO 1795.
Deposing and Death of Queen Gin — Hay. 1736.
Demns — Hay. Dec 18 1793.
DerFreischutz— C. 6. Oct. 14 1824— D. L. Nov. 10 1824.
Deserted Daughter— C. G. May 21795.
Deserter— D. L. Nov. 2 1773~D. L. Sep. 22 1796— C. G. Nor.
25 1813— C. G. June 1 1825.
Desert Island— D. L. Jan. 24 1760.
Deserter of Naples — D. L. June 2 1788.
Deserta of Arabia— C. G. Nov. 20 1806.
Deserting Favourite — see yoI. 10 p. 24.
Destruction of Jerusalem — in 2 parts at T. R. 1677 — 2i pait re-
Tired at D. L. July 1 1712.
Destruction of Troy— D. G. 1678.
Deuce is in him— D. L. Nor. 4 1760—0. G. April 20 1771-^
C.G. Nor. 14 1782— Hay. July 23 1785— D. L. April 28
1790— D. L. May 1 1797 — D. L. Dec 11 1813 ~D«L.
Oct. 23 1817.
Derice, or Deaf Doctor^— C. G. Sep. 27 1779.
Deril of a Duke, or Trappolin's Vagaries — D. L. Sep. 28 1782.
Derilof a Wife— T. R. 1686— L. I. F. April 6 1724.
Deril's an Ass— see T. R. 1602.
Deril's Bridge— by D. L. C. May 6 1812^0. 6. April 11 18ia
Deril's Law-case— see rol. 10 p. 16.
Deril^s Elixir--^. G. April 20 1829.
Derii m the Wine CeMar, altaBd from Walking Statue— Hay.
July 25 1786.
Dera to Pay-D. L. Aug. 6 1731— C. G. April 11 1758— D. L.
Nov. 24 1773— D. L. April 9 177a-^Bath Feb. 9 1782—
C. O. April 11 1785— €. 6. March 1 1787 — D. L. Dec.
17 1788— C. G. May 9 1828.
Deril upon two Sticks— Hay. May 30 1768— Hay. Sep. 11 1780
— C. G.June 11 1787.
Diamond cut Diamond, or Venetian Rerels — C. G. May 23 1797.
Didier Mrs — see Bath Feb. 17 1807.
Dido and iBneas— Hay. Jan. 12 1784.
Dido (Burlesque Opera)— Hay. July 24 1771.
Digitized by VjOOQ IC
XXXIl INDEX.
Dido, by Marlowe— (Me Old Plays 1823-1824.
Dido, by Reed— D. L. March 28 1767— 1>. L, April 28 1797.
Dido Qaeen of Carthage Op ^by D. L. C. May 23 1792.
Different Widows — L. I. F- 1703,
Difficulty in arranging plays without the playbills — - see Tol. 1
p. 109.
Difficulty of arranging the names of the performers in the bills
—see D. L. G. AprU 28 1792.
Difficulty of finding letters sufficiently large for the principal per-
formers— see vol. 4 p. 374.
Digges — ^his characters — Hay. 1781.
Dimond*s characters — see Bath 1800*1801.
Dirce, or Fatal Urn— D. L. June 2 1821.
Disagreeable Surprise — D. L. Dec 1 1819.
Disappointed Gallant, or Buckram in Armour-— see vol. 7 p. 133.
Disappointment by Southerne — T. R. 1684.
Disbanded Officer— Hay. July 23 1786.
Discarded Secretary — see vol. 10 p. 210.
Discovery— D.L. Feb. 3 1763— D. L. Jan. 20 1776— D. L. Feb.
3 1779— C. G. Nov. 29 1782— D. L. AprQ 2i 1806.
Disguise — see vol. 10 p. 195.
Disinterested Love — 0. G. May 30 1798.
Dissembled Wanton— L. I. F. Dec. 14 1726.
Dissipation — D. L. March 9 1781.
Distracted State — see vol. 10 p. 75.
Distressed Baronet— D. L. May 11 1787.
Distressed Ftaiily— Hay. July 9 1791.
Distressed Innocence — T. R. 1691.
Distressed Mother— D. L. March 17 1712— C. G. Jan. 16 1735
_C. G. Nov. 29 1742— C. G. April 4 1747— D. L. Maidi
10 1748— C. G. Dec. 18 1750— D. L. Dec 10 1751— C. G.
April 30 1753 wWi large and small letters according to ike
rank of the different performers— J} > L. Oct. 29 1754—
D. L. Dec. 8 1764— C. G. Jan 7 1775— D. L. Feb. 6
1776— C.G. Nov. 19 1778— D. L. March 29 1781— D. L.
March 4 1786— D. L. Jan. 6 1802— C. G. Dec 21 1803—
C. G. Sept. 16 1816— D. L. Oct. 22 1818— Bath Jan. 5
1820.
Distressed Wife— C. G. March 5 1734— revived at C. G. as
Modem Wife, April 27 1771.
Distresses — see vol. 10 p. 83.
Distress upon Distress— see voL 10 p. 177.
Digitized by VjOOQ IC
INDEX. zzxiii
Diyenuons of the Morning—Hay. 1747--D. L. Oct 17 1768.
DiToroe— D. L. Noir. 10 1781— D. L. April 14 1789— D. L. Not.
4 1807.
Doating Lovers-L. T. F. June 23 1715.
Doctor and Apothecary— D.L. Oct. 25 1788— D.L. June 3 1817.
Dr. Faastus, by Marlowe I t* w iaaa
Dr. Faustos, by Mountfort | * • *^- **>«>•
Dr. Hocos PocuB*— Hay. Aug 12 1814.
Dr. Last in his Chariot— Hay. 1769— C. 6. April 26 1779.
Dr. La8t*8 Examination— Hay. Aug. 21 1787— D.L. May 4 1790
— C. 6. May 29 1795— D. L. May 15 1801— C G. C. May
17 1809— Hay. Aug. 21 1809.
Dodd's characters— D. L. 1795-1796.
Dodsley's Old PUys— see end of 1743-1744.
Dog Days in Bond Street— Hay. Aug. 31 1820— Bath Jan. 31
1821— Hay. Sept. 20 1824.
Dogget — ^his Istapp. at T.R. seems to have been in 1691— -he
became joint-manager in 1709-1710 — ^for his characters, see
D. L. 1713-1714— for his coat and ba^ see D. L. Aug.
1 1716.
Doldrum— C. O. April 23 1796— Hay. Aug. 29 1812.
Don Carlos, by Leo— D. O. 1676— D. L. July 27 1708.
Don Carlos, by Lord John Russell — see vol. 10 p. 240.
Don Giovanni in London — Bath Dec. 11 1820.
Don Giovanni in Ireland --D. L. Dec. 22 1821.
Don Giovanni, or the Spectre on Horseback — Bath May 19 1810.
Don John, or Two Violettas— C. G. Feb. 20 1821.
Don Juan, or the Libertine Destroyed, Pant — D. L. May 10
1782— D. L. May 22 1789— C. G. May 28 1789.
Don Pedro, by Cumberland— Hay. July 23 1796.
Don Pedro, by Lord Porchester— D. L. March 10 1828.
Don Quixote Ist and 2d parts— T. R. 1694.
Don Quixote (probably 2d part)— D. L. June 17 1713 — CO.
May 17 1739.
Don Quixote, 3d part— D. L. 1690.
Don Quixote in England — Hay. about April 1734 — D. L. April
6 1752— C. G. May 3 1759— Liverpool June 11 1777.
Don Sebastian— T. R. 1690— D. L. April 9 1709-L. h F.
Jan. 28 1717— L. 1. F. Jan. 28 1117- L. L F. April 24
1732— C. G. March 12 1744— D. L. Dec 7 1752-C. G.
March 22 1774— C. G. May 26 1794.
Doom of Devorgoil— see vol. 10 p. 245.
/
Digitized by VjOOQ IC
XXXI V INDEX.
Dorset Garden^opened Noir. 7 1671.
Dorral^see toL 10 p« 184^
Double Deception — D. L. April 28 1779.
Double Dealer— T. R. 1693— L. I. F. Oct. 18 1718— D. L. Jan.
10 1738— C. G- Jan. 18 1745— C.G. April 5 1749— C. G.
Nov. 28 1754— D.L. Oct. 29 1756— D.L. March 28 1773-
C. G. March 5 1776— Hay. Sept. 2 1776— C. G. Dec. 17
1776— C. G. March 19 1782— D. L. Dec 3 1784— D. L.
Feb. 27 1802.
Double Deceit (C. by Popple)-C.6. April 25 1735.
Double Disappointment — ^D. L. March 18 ]746->D. L. Oct. 16
1752— C. G.March 22 1759— D. L. Nor. 7 1767.
Double Disguise— D. L. March 8 1784.
Double Distress— L. I. F. 1701.
Double Falsehood— D. L. Dec. 13 1727— C. G. Dec IS 1740-
C. G. April 24 1767— D. L. March 31 1770— C. G. Jane 6
1791— Bath May 23 1793.
Double Gallant— Hay. Nov. 1 1707— C. G. Nov. 21 1734— D. L.
Jan. 8 1739— C. G. Dec. 17 1744— D. L. Dec 14 and 17
1750— D. L. Oct. 11 1759— D. L. Jan. 16 and Feb. 15
1770— D. L. April 19 1779— C. G. March 18 1780— D.L
Nov. 8 1788— C. 6. May U 1791— D. L. C. April 10
1792— C.G. Feb. 6 1798— D. L. Jan. 20 1801— D.L
March 29 1817.
Double Marriage— T. R. 1683.
Double Mistake— C. G. Jan. 9 1766.
Doubtful Heir— see vol. 9 p. 559.
Doubtful Son— Hay. July 3 1810 — Bath Jan. I 1811 — Brth
Jan. 4 1814.
Douglas— C. G. March 14 1757 — D. L. Jan. 11 1760 — D. L
Dec 1 1769— C. G. April 8 1775 — C. G. Jan. 15 1776 -
Hay. June 2 1780— D. L. Dec 4 1780— D. L. Dec 22 1783
— C. G. Nov. 13 1783— D. L. Jan. 2 1784 — C. G.Dec. 28
1787— C. G. Oct. 26 1796 — C. G. Oct. 23 1797 — C. G.
Oct. 6 1803 — D. L. May 6 1818 — C. G. June 2 1818 -
C. G. June 9 1819.
Downes— see end of Hay. 1705-1706.
Dowton made his 1st app. at D. L. Oct. 11 1796.
Downfall of Robert Earl of Huntington — see vol. 0 p. 450.
Draffon of Wantley— C. G. Oct. 26 1737— D. L. Feb. 2 174»-
D. L. March 7 1747 — C. G. May 4 1762 — C. G. Not. 18
1767— C. G. April 7 1774— C. G. March 18 1782.
Dramatic Puffers— C. G. Feb. 9 1782.
Dramatbt— C. G. May 15 1789— D. L. May 4 1807.
Digitized by VjOOQ IC
INDEX. XXXV
Dream^-0ee Miss Baillie 1811-1812.
Dreamer Awake— C. 6. May 6 and 28 1791.
Drammer— D. L. March 10 1716— L. I. F. Feb. 2 1722— D. L.
Oct. 3 1738— C. G. Jan. 23 1745 — D. L. Oct- 25 1754 —
C. G- Jan. 28 1762— D. L. Jan. 29 1762— D. L. Nov. 6 1771
—in 2 acta C. G. April 24 1786— Bath March 6 1790 —in
3 acta D. L. Dec. 13 1794.
Dmnkard— «ee toL 10 p. 226.
Dmry Lane — in 1696 the Theatre Royal was caDed the T. R.
in D. L. — it was materially altered and enlarged in 1762-
1763 — ^it was pnUed down in the summer of 1791 — the new
theatre was opened (for plays) April 21 1794 — it was burnt
Feb. 24 1809— it was rebuilt, and opened Oct. 10 1812 —it
was kept open all the summer of 1821.
Drury Lane Committee — closed their management June 9 1810.
D. L. Company acted at Opera House in Hay. 1791-1792 — boxes
raised to 6s. — ^pit to 3s. and 6d.
D. L. Company at Hay. — June 10 1819.
Dryden — for his Essay of Dramatick Poesie, see 1668 — for the
assault on him in Rose Street, see Loving Enemies D* G*
1680— for his Politics, see Don Sebastian 1690— for the ser-
vility of his dedications, see Love Triumphant T* R. 1693—
for his Religion, see Pilgrim D. L. 1700.
Duel by Obrien— D L. Dec. 8 1772.
Duellist-C. G. Nov. 20 1773.
Duel, or my Two Nephews— C. G. Feb. 18 1823.
Duenna— C. G. Nov. 21 1775— C. G. Oct. 31 1789— D. L. May
18 1795— D. L. Nov. 19 1801— Hay. Sep. 20 1820i— D. L.
March 20 1821— C. G. Dec. 21 1825.
Duenna (political)— see voL 10 p. 191.
Duke and no Duke— T. R. 1685— Hay. Nov. 16 1705 — C. G.
Feb. 5 1733 — 1>. L. Dee. 27 1749 — C. G. Dec 9 1775 —
D. L. May 3 1784 — C. G. April 18 1786 — C. & AprU 8
1707— Hay. Aug. 14 1797.
Duke of Guise— T. R. 1682— see D. L. Aug. 9 1716.
Duke of Milan altered by Cumberhmd-C. G. Nov. 10 1779.
Duke of Mikn altered by * « D. L. March 9 1816— Bath July 5
1816.
Duke of Savoy— C. G. Sep. 29 1817.
Duke*s Coat— see vol. 10 p. 233.
Duke's Mistress— see vol. 9 p. 550-
Dumb Girl of Genoa-Bath April 18 1823*
Dumb Knight-'seeG vol. of Dodsley 1744.
Digitized by VjOOQ IC
XXXVl INDBZ.
Dumb Lady^T. R. 1Q69.
Dumb Savoyard and his Monkey— D. L. April 7 182&
DnnataU-seeC. G. 1778-1779.
Dape~D. L. Dec. 10 1763.
Dupes of Fancy— D. L. C. May 29 1792.
Dnplicity— C. 6. Oct. IS 1781-(8ee Masked Friend.)
D'Urfey^see D. L. June 15 1718.
Dutchess of Malfy— L. I. F. 1664— Hay. July 22 1707 - for the
original cast see toL 10 p. 16.
Dutch Lover— D. 6. 167S.
Dutchman— Hay. Sep. 8 1775.
Dutiful Deception— C. 6. April 22 1778.
Dwarf of Naples— D. L. March 13 1819.
Dwyer— see end of D. L. 1803-1804.
Each for Himself- D. L. Oct. 24 1816.
Earl Goodwin— Bath Nov. 3 1789.
Earl of Essex, by Banks — see Unhappy Favourite.
Earl of Essex, by Brooke — D. L. Jan. 3 1761 — Hay. Sep. 3
1770.
Earl of Essex, by Jones — C. 6. Feb. 21 1753 — D. L. Oct. 24
1755— D. L. April 27 1773— C. 6. Dec 26 1774 — D. L.
Feb. 12 1781— C. G. April 17 1782— C. G. Dec 31 1790—
C. G. Nov. 10 1812— C. G. Dec. 30 1822.
Earl of Warwick, or British Exile— D. L. June 26 1719.
Earl of Warwick, by Dr. Franklin— D. L. Dec 13 1766— C G
March 22 1770— D. L. Mardi 26 1774— C. G. April 5 1779
— D. L. Nov. 3 1784 — D. L. March 29 1806 — at Opera
House, see vol. 8 p.240— C. G. Dec. 11 1818.
Earl of Warwick, in 3 acts— C. G. May 24 1796— C. O. Dec 11
1818.
East Indian, by Lewis— D. L. April 22 1799.
East Indian, by Hay. July 16 1782.
Eastward Hoe— D. L. Oct. 29 1751 —altered to Old City Man-
ners—D. L. Nov. 9 1775 — ^for the plot see Cuckold's Haven
168^.
Eccentric Lover— C. G. April 30 1798.
Edgar and Alfreda— T. R. 1677.
Edgar and Emmeline — D. L. Jan. 31 1761 — C. O. March 26 1768
^D. L. April 27 1795— D. L. May 16 1808.
Digitized by VjOOQ IC
INDEX. XXXVll
^gv> by Rymer— flee vol. 1 p. 223.
Edgar, or Caledonian Feuds— C. O. May 9 1806.
Editha— see vol. 10 p. 194.
Edmead Misfr— see D. L. Feb. 26 1799.
Edooation— C. 6. April 27 1813.
Edmond, Orphan of the Castle— flee toL 10 p. 216.
Edward and Eleanora— see C. 6. March 29 1739— C. G. March
18 1775— Bath Feb. 12 1780~D. L. Oct. 22 1796.
Edward the Black Prince — D. L. Jan. 6 1750 — C. O. May 15
1778— D. L. Oct. 20 1783— D. L. May 26 1803.
Edward the Black Prince, altered by Reynolds — D. L. Jan. 28
1828.
Edward 1st— see vol. 4 p. 132.
Edward 2d — see 2d vol. of Dodsley 1744.
Edward 3d (not acted)— see vol. 10 p. 232.
Edward 3d— T. R. 1691— Hay. March 11 1710.
Edward 4th— see vol. 9 p. 599— and vol. 10 p. 1.
Edwin T— L. I. F. Feb. 24 1724.
Edwin and Angelina— see vol. 10 p. 204.
Edwin Mrs.— see Bath 1797-1798— and D. L. March 20 1821.
Edwin's characters — Hay. 1790.
Edwy— see vol. 10 p. 193.
Edwy and Elgiva^D. L. March 21 1795.
Egan Mrs.— Bath July 8 1813.
Egleton— see L. I. F. Maich 31 1722.
Egleton Mrs.— her characters— C. G. 1732-1733.
Egyptian Festival-D. L. March 11 1800.
Elder Brother— see Love makes a Man D. L. 1701.
Elders— C. G. AprQ 21 1780.
Eldred— Hay. Joly 7 1776— C. G. May 1 1776.
Election G^— see Miss Baillie end of 1811-1812.
Election, Interlude— D. L. Oct. 21 1774.
Election of the Managers — Hay. June 2 1784.
Electra by W. Shirley— see end of C. G. 1762-1763.
Electra from the Orestes of Voltaire— D. L. Oct. 15 1774.
Elephant at C. G. Dec. 26 1811.
Eleventh of June, or Daggerwoods at Dunstable — D. L. June 5
1798.
Elfrid— D. L. Jan. 3 1710.
Digitized by VjOOQ IC
XXXVIU INDEX.
Elfrida— C. G. Nov. 21 177SJ— C. G. Feb. 23-1779— C. G. April
5 1783— D. L. April 14 1785 — C. G. (in 4 acta) Nov. 24
1792.
Eliza — Opera — see D. L. Jan. 20 1757.
Ella Rosenberg— D. L. Nov. 19 1807 — D. L. May 10 1813—
D. L. Nov. 5 181 9_C. G. July 6 1824— D. L. Oct. 6 1825.
EUiston'fl cbaracten — D. L. 1825-1826.
Elmerick— D. L. Feb. 23 1740.
Elmy Mrs.— «ee end of G. G. 1761-1762.
Eloisa— C. G. Dec. 23 1786.
Elopement, by Havard— D. L. April 6 1762-1763.
Elphi Bey— D. L. April 17 1817.
Elrington— see L. I. F. Oct. 6 1716.
Elvira, by Lord Bristol— see vol. 1 p. 63— for the plot, see 12tk
vol. of Dodsley, 1744.
Elvira, by MaUet— D. L. Jan. 19 1763.
Embarcation — D. L. Oct. 3 1799.
Emery's characters— C. G. 1821-1822.
Emilia— see vol. 10 p. 187.
Emigrant in London— see vol. 10 p. 203.
Emilia 6alotti—D. L. Oct. 28 1794.
Emperonr of the East — see 3d vol. of Massinger 1805.
Emperonr of the Moon— T. IL 1687— D. L. Sept. 18 1702— D. L.
Sept. 3 1708— L. L F. June 28 1717— L. I. F. Feb. 6 and
Oct. 25 1721-L. I. F. Oct. 30 1731— C. G. Feb. 14 1739
— D. L. Dec 26 1748— C. G. Dec 26 1748.
Empress of Morocco F^— see T. R. 1674.
Empress of Morocco T— D. G. 1673-0. L. July 10 17i>a
Enchanted Coarser— D. L. Oct. 28 1824.
Enchanted Island (Ballet) — Hay. June 20 1804.
Enchanted Wood— Hay. July 25 1792.
Enchanter, or Love and Magic — D, L. Tec 13 1760.
Endymion, by Lyly— see vol. 2 of Old Phiys 1814-1815.
England Preserved— C. G. Feb. 21 1795.
Engbnd's Glory— C. G. Oct. 20 1797.
English Fleet in 1342— C. G. Dec. 13 1803— D. L. June 8 I8I5
English Friar— T. R. 1689.
English Lawyer— T. R. 1678.
Englishman from Paris, by Murphy — D. L. April 3 1756.
Englishman in Bordeaux— see vol. 10 p. 181.
Digitized by VjOOQ IC
INDEX. XXXIX
Englishman in Paris—C. 6. March 24 1759— -D.L. Oct. 20 1753
Englishman retarned from Paris, by Foote — C. 6. Feb. 3 I75G
— C. G. Nov. 17 1770.
Englishmen in India — D. L. Jan. 27 1827.
English Merchant— D. L. Feb. 21 1767_C* G. Oct. 5 1767—
—Hay. July 16 1779 — Hay. July 18 1781 — Hay. June 2
1784— Hay. May 22 1789.
English Moor — see rol. 10 p. 41.
English Mounsieur-*T. R. Dec 8 1666 — for the plot, see vol. 10
p. 253.
English Princess— L. I. F. March 7 1667.
English Readings— Bay. Aug. 7 1787.
English Tars in America — C. 6. March 30 1761.
English Tavern at Berlin — see voL 10 p. 198.
English Traveller— see rol. 6 of Old Plays 1814-1815.
En8ign-..8ee vol. 10 p. 218.
Epanlette— Hay. Oct. 22 1825.
Ephesian Matron, attributed to C. Johnson — D. L. April 17 1732.
Ephesian Matron, by Bickerstaffe— Hay. Aug. 31 1769— D. L.
May 8 1771.
Epicaris— D. L. Oct. 14 1829.
Epiccene — see Silent Woman.
Eponina— see vol. 10 p. 182.
Epsom Wells— D. 6. 1672— D. L. Deo. 18 1708— D. L. April 2
1715— L. I. F. July 22 1726.
Errors Excepted— Hay. Aug. 13 1807.
Batrnpe into Prison— C. G. Nov. 14 1797. "
Escape — Pantomime Interlude — D. L. May 21 1796.
Escapes, or Water Carrier— C. G. Oct. 14 1801.
Estcourt's characters— D. L. 1711-1712.
Esten Mrs.— her characters.C. G. 1793 1794.
Ethelred— see vol. 10 p. 231.
Esther — see vol. 10 p. 154.
Ethwald^see vol. 2 of Miss Baillie end of 1811-1812.
Etymologist— see vol 10 p. 194.
Eudonip-C. 6. Jan. 29 1790.
Eugenia, by Dr. Francis— D. L. Feb. 17 1752.
Eugenia, by Hayes and Carr — see vol. 10 p. 184.
Eunuch, or Darby Captain— D. L. May 17 1737.
Eunuch T. — see Love and Revenge D. G. 1675.
Digitized by VjOOQ IC
Xl INDEX.
Eunuch, trandaled from Terence— D. L. July 9 1717.
Euripides — ^seeendof 1781-1782.
Enrydice Hiss'd, or a Word to the Wise— Hay. 1737.
Eurydice, or the Devil Henpecked — D. L. Feb. 19 1737.
Enrydice T— D. L. Feb. 22 1731— D. L. March 3 1759.
Evadne, or the 8tatne-C. G. Feb. 10 1819.
Evans Sir Hugh— see C. 6. April 25 1804.
Evans— see G. G. Oct. 2 1822.
Evening's Love— T. R. 1668— D. L. Oct 18 1717.
Every Body Mistaken— L. I. F. March 10 171&
Every Day Characters — see vol* 10 p. 226.
Every Man — see Hawkins 1773.
Every Man in his Humour — see T. R. 1682 — D. L. Nov, 29
1751 — C. 6. Oct. 25 1762 — D. L. Oct. 9 1767 — D. L.
Feb. 9 1776— D. L. Jan. 2 1778— C. G. Oct. 1 1779— C. G.
May 15 1798— C. G. Dec. 17 1800— D. L. Dec 10 1802—
Bath Feb. 10 1816— D. L. June 5 1816— see Ben Jonaon's
works 1816— C. G. May 13 1825.
Every Man in his Humour, revived with akenUions at L. I. F.
Jan. 11 1725.
Every Man out of his Humour — see T. R. 1682.
Every one has his Fault — C. G. Jan. 29 1793 — D. L. June 14
1805— C. G. May 22 1810 _ Hay. Aug. 22 1810 — D. L.
April 2 1814— C. G. June 16 1810— D. L. June 19 i820L-
Hay. Oct. 7 1823— C. G. June 7 1825— D L.Nov. 6 182a
Every Woman in her Humour — D. L. March 20 1760.
Example— see T. R. 1682.
Exchange no Robbery — Hay. Aug. 12 1820 — C. G. June 12
1821— D. L. Feb. 4 1823.
Exciseman— C. G. Nov. 4 1780.
Excommunicated Prince — see vol. 10 p. 143.
Exile acted by C. G. C. Nov. 10 1808 — C. G. Oct. 17 1821 —
C. G. June 9 1826.
Exit by Mistake— Hay. July 22 1816.
Experiment — see voL 10 p. 192.
Eyre— see Hay. July 25 1810.
F
Factious Citizen — T. R. 1684.
Fair American— D.L. May 18 1782.
Fair Captive — L. I. F. March 4 1721.
Fair Cheating— D. L. June 15 1814.
Digitized by VjOOQ IC
INDEX Xli
Fair Circasiian 17:^0— Me vol. 10 p, 166.
Fair GiTCassian— D. L. Nov. 27 178L
Fair Deserter— Hay. Aug. 24 1816.
Fair Example— D. L. April 10 1708— L. I. F. Oct. 17 tmi Dec
7 1717.
Fa^r Favoarite— see vol. 10 p. 82.
Fair Fugitives— G. 6. May 16 1803.
Fair Game— C. 6. Dec 21 1813.
Fairies— D. L. Feb. 3 1766.
Fair Maid of the Inn — see vol. 9 of Beauinonl and Fletcher
1778.
Fair Maid of the West— see voL 9 p. 590.
Fair of St. Oermain— see end of L. I. F. 1718-1719.
Fair Orphan — see voL 10 p. 187.
Fair Parricide— see vol. 10 p. 177*
Fair Penitent— L. I. F. 1703 — L. I. F. Jan. 11 1718 — D. L.
Nov. 12 1725— D. L. April 29 1738— D. L. March 24 1743
— C. G. Nov. 14. 1746— D. L. Feb. 1 1748 — C. G. Jan. 19
1751— D. L. Nov, 8 1751 — C. G. Feb. 21 1767 — D. L.
Nov. 29 1760— D. L. March 15 1763 —C G. Nov. 7 1766
— D. L. Nov. 11 1769— Hay. July 9 1770 — C. G. Nov. 10
1775— Hay. Aug. 26 1782— D.L. Nov. 29 1782 — C. G.
AprU 12 1785— C. G. Nov. 5 1803— Hay. Aug. 30 1811 —
D. L. Nov. 15 1814— C. G. March 2 1816— C. G. Dec. 20
1824.
Fair Quaker of Deal — D. L. Feb. 25 1710 — L. I. F. Nov. 12
1721— D. L. Oct. 20 1730 —€. G. April 13 1748 — D. L.
Oct. 7 1755— C. G. April 15 1766— altered as Fair Quaker
only D. L. Nov. 9 1773— C. G. April 21 1779— D. L. May
10 1781.
Fair Quarrel— see vol. 10 p. 1 4.
Fairy Favour— see vol. 10 p. 182,
Fairy Princ^—C. G. Nov. 12 1771.
Fairy Queen — T. R. 1692.
Fairy Tale— D. L. Nov. 26 1763.
Fairy Tale— Hay. July 18 1777.
Faithful General— Hay. Jan. 3 1706.
Faithful Irishwoman — D. L. March 18 1765.
Faithful Shepherdess— see 3d vol. of Beaumont and Fletcher 1778.
Fall of Algiers— D. L. Jan. 19 1826.
Fall of Jerusalem — see vol. 10 p. 238.
Fall of Portugal— see vol. 10 p. 229.
Digitized by VjOOQ IC
Xlii INDfiX.
Fall of Sagantam— L. I. F. Jan. 16 1727.
FaU of the Earl of £ssex— G. F. Feb. 1 1731.
Fall of the Mogul— see rol. 10 p. 227.
Fallg of ayde-D. L. Oct. 29 1817.
False Akniui, or My Cousin — D. L. Jan. 12 1807.
False and Trae — Hay. Ang. 11 1798— C. 6. April 30 1799—
D. L. May 26 1806.
False Appearances — D. L. April 20 1789.
False Colonrs— by D. L. C. April 3 1793.
False Concord— C. O. March 20 1764.
False Connt— D. G. 1682— L. I. F. Ang. 11 1715.
False DeUcacy— D. L. Jan. 2.S 1768— D.L. Oct. 14 1782.
False Delicacy — ^not acted — see vol. 10 p. 220.
False Demetrins— see vol. 2 of Cumberland 1812-1813.
False Favourite Disgraced— see vol. 10 p. 131.
False Friend, by Cross— Bath March 7 1812.
False Friend, by Mrs. Fix— L. I. F. 1699.
False Friend, by Vanburgh— D. L. 1702— L. I. F. Oct. 14 1724
— C. Q. Jan. 28 1752— D. L. March 31 1767— D, L. Oct.
24 1789.
False Guardians Outwitted— see vol. 10 p. 168.
False Impressions — C. G. Nov. 23 1797.
False Shame— see vol. 10 p. 215.
False One— see vol. 6 p. 46.
Falstaff— for difiPerentJperformers of the character, see Hay. 1777,
p. 596.
Falstaff originally called Oldcastle — see vol. 2 p. 533.
FalstaTs Wedding — D. L. April 12 1766 — Liverpool Aug. 26
1777— D. L. May 11 1803.
Family Compact — Hay. Sep. 6 1792.
Family Distress — Hay^une 15 1799.
Family Jars— Hay. Aug. 26 1822.
Family Legend— D. L. May 29 1815— Bath March 19 1811.
Famfly Party— Hay. July 11 1789.
Family Quarrels— C. G. Dec. 18 1802.
Fancies Chaste and Noble — see vol. 2 of Ford's works 1811.
Fancy'd Queen— C. G. Summer of 1733.
Fai«e Writer— C. G. Oct. 6 1815.
Farmer -C. G. Oct. 31 1787— D. L. May 17 1814— Hay. Awr-
28 1820.
Digitized by VjOOQ IC
INDEX. xliii
Farmar'i Reluni from London—D. L. March 20 1762.
Farmer's Wife— C. G.Feb. 1 1814.
Farm Hoiue— D. L. May 2 1789—0. 6. Oct. 16 1795.
Faro Table by Tobin— see Ooardians D. L. Not. 5 1816.
Farren— aee C. 0. 1794-1795.
Farren William— his 1st app. at C. O. Sep. 10 1818.
Farren Miss— her characters D. L. 1796-1797.
Fashionable Friends— D. L. April 22 1802.
Fashionable Lady, or Harlequin's Opera— 6. F. April 2 1730.
Fashionable Levities — G. 6. April 2 1785— in 3 acts C. &• March
31 1792— C. G. May 6 1797 — Hay. Jan 29 1801 — D. L.
May 31 1820.
Fashionable Lover by Cumberland — D. L. Jan. 20 1772 — C. G.
May 9 1786— C. G. AprU 9 1808 — Bath Dec. 8 1808 —
D. L. Oct. 14 1818.
Fashionable Lover, or Wit in Necessity-— see end of D. L. 1705*
1706.
Ftot and Slow— D. L. April 18 1827.
Fast Asleep—D. L. Nov. 28 1797.
Fatal Constancy — D. L. April 22 1723.
Fatal Contract by Hemmings — see Love and Revenge D. G.
1675.
Fatal Cariosity— Hay. 1786 — Hay. Sep. 4 1755 — Hay. Jane 29
1782— D. L. May 1 1797— Hay. July 13 1808— Bath June
12 1813.
Fatal Dicovery by Home— D. L. Feb. 23 1769l— C. G. March 18
1776.
Fatal Discovery, or Love in Ruins — D. L. 1698 — for plot see
vol. 10 p. 185.
Fatal Dowry — see Fur Penitent L. I. F. 1703 — and Insolvent
Hay. 1758.
Fatal Dowry, altered— D. L. Jan. 5 1825^Bath Feb. 18 1825.
Fatal Error— see voL 2 of Victor's works 1776.
Fatal Extravagance— L. I. F. April 21 1721 — L. !• F. Feb. 21
1730— C. G. May 14 1794.
Fatal Falsehood, by Hewitt— D. L. Feb. 11 1734.
Fatal Falsehood, by Miss More— C. G. May 6 1779.
Fatal Interview— D. L. Nov. 16 1782.
Fatal Friendship— L. I. F. 1698.
Fatal Jealousy— D. 6. 1672.
Fatal Legacy— L. I. F. April 23 1723
Digitized by VjOOQ IC
Xliv INDBX.
Fatal Love by Settle— T. R. 1680.
Fatal Love, or Degenerate Brother — Hay. 1780.
Fatal Marriage— T. R. 1694— D. L. Feb. 1 1709— D. L. Jue
18 1717—0. 6. March 18 and May 4 1734— D. L. Jan. 23
1735— D. L. April 10 1744— D. L, March 13 1750_C. G.
April 18 1755»altered from Southern at D. L. Dec 2 1757
— see Isabella.
Fatal Mistake, or the Plot Spoird— see end of D. T.. 1701.
Fatal Retirement— D. L. Nov. 12 1739.
Fatal Secret — C. 6. April 4 17da
Fatal Sisters— see vol. 10 p. 205.
Fatal Vision-L. I. F. Feb. 7 1716.
Fatality~Hay. Sep. 1 1829.
Fate of Galas— Bath March 17 1821.
Fate of Capui^-L. I. F. 1700.
Fate of Corsica— see vol. 10 p. 158.
Fate of Sparta— D. L. Jan. 31 1788.
Fate of VUlany— G. F. Feb. 24 1730.
Father and his Children— C. G. Oct. 25 1817.
Father and Son— C. G. Feb. 28 1825.
Father of an only Child — see rol. 10 p. 196.
Fathers, or Good-natured Man — ^D. L. Nov. 30 1778.
Father's Revenge — see vol. 10 p. 193.
Faulkner— D. L. Dec.16 1807.
Fanstas— D. L. May 16 1825.
Favourite — see vol. 10 p. 187.
Fazio— Bath Jan. 6 1818 — 0. G. F^b. 5 1818 — D. L. Oct. 27
1823.
Feigned Courtezans — D. 6. 1679— L. L F. A^tig. 8 1710.
Feign'd Friendship— L. I. F. 1698.
Female Adventure (or Pursuit) C. G. April 29 1790.
Female Advocates — D. L. Jan. 6 1713.
Female Chevdier— Hay. May 18 1778.
Female Duellist— by D. L. C. May 22 1793.
Female Fop — ^see vol. 3 p. 159.
Female Fortune-teller — L. I. F. Jan. 7 1726.
Female Jacobin Club — see vol. 10 p. 223.
Female Officer by Brooke— see his works 1778, vol. 4.
Female Parson — Hay. 1730.
Female Prelate— T. R. 1680— Hay. 1744-1745.
Digitized by VjOOQ IC
INDEX. Xlv
Female Bake— Hay. 1736.
Female Virtuosoes — T. R. 1693 — reWred at L. I. F. Jan. 10
1721-..as No Fools like Wito,
Female Witg-.D. L. 1697.
Fennell — see end of C. G. 1787-1788.
FeDton Miss— see L. I. F. April 29 1728.
Ferrex and Porrex — see 2d irol. of Hawkins 1773.
Ferry of the Guiers— C. 6. Nov. 13 1823.
Feudal Times— D. L. Jan. 19 1799.
Fickle Shepherdess — L. I. F. 1703.
Fielding's observations on Rich's Entertainments — see Tumble-
down Dick at Hay. 1737.
Field's Sale— see end of 1826-1827.
Fiesco — see vol. 10 p. 204.
Figure of Fun— C. G. Feb. 16 1821.
Fine Companion— see vol* 10 p. 52.
Fine Lady's Airs^.D. L Dee. 14 1708— D. L. April 20 1747.
Fire and Water— Hay. July 8 1780.
First Come First Serv'd— Hay. Aug. ^2 1808.
First Faults— D. L. May 3 1799.
First Floor— D. L. Jan. 13 1787— Hay. Sept. 6 1818.
First Impressions — D. L. Oct. 30 1813.
First Love— D. L. May 12 1795— D. L. May 27 1808.
T^rst of April— Hay. Aug. 31 1830.
First of May— C. G. Oct. 10 1829.
Fisherman's Hut— D. L. Oct. 20 1810.
Fisher Miss Clara^D. L. Dec. 3 1822— Bath June 6 1823.
Fish out of Water— Hay. Aug. 26 1823.
Five Miles Off— Hay. July 9 1806— C. G. May 19 1007-
Five Minutes too Late — D. L. July 5 1825.
Five Thousand a Year— C. G. March 16 1799.
Flecknoe— ft»r his short discourse On the English Stage, see vol
10 p. 249.
Fleetwood purchases the D. L. Patent of Hig^more in 1733*1734
— sells it before Sept. 1745 — for the quarrel between him
and the actors, see the beginning of 1743-1744.
Fleire — see vol. 10 p. 94.
Flitch of Bacon— Hay. Aug. 17 1778— C. G. Jan. 7 1780l-.D. L.
May 15 1781 — C. G June 3 1806— D. L. June 22 1814.
Floating Beacon — Bath May 5 1826.
Digitized by VjOOQ IC
Zlvi INDEX.
Floaliiig Island — tee vol. 10 p. 107.
Fiodden Field— D. L. Dec. 31 1818.
Flora, or Hob in the Well— D. L. April 11 and 20 1767.
Flora's Vagarie^-T. R. Oct. 6 1667— and D. L. Jnly 26 1716—
for the plot see vol. 10 p. 254
Florist's Wedding— D. L. April 3 1770.
Florizel and Perdita^-see Sheep-shearii^.
Flying Dutchman— Bath March 24 1829.
Follies of a Day-r-C G. Dec 14 1784 — Hay. Aog. 2l 1787 —
D. L. May 27 1789— as Farce D. L. Nov. 7 1789 — Hay.
June 17 1790— Hay. Aug. 8 1796 — C. G. Oct. 23 1811—
D. L. Feb. 12 1817.
FoUies of Fashion— D. L. Nov. 28 1829.
FoUy as it FUes — C. G. Oct. 29 1801— G. O. May 13 1806 —
C. 6. Not. 27 1813— D. L Nov. 3 and 10 1821.
Folly of FriestcrafU-«ee voL 10 p. 148.
Fond Husband— D. G. 1076 — Hay. June 20 1707 — L. I. F.
Oct. 28 1715— L. I. F. June 24 and Nov. 30 1726— L. I. F.
Feb. 14 1732— D. L. Nov. 29 1740.
Fontainblean— C. G. Nov. 16 1784— D.L. June 1 1813— C. 6.
May 31 1825— Hay. Sep. 28 1826— D. L. May 23 1827.
Fontainville Forest— C. G. March 25 1794-^n 4 acU C. G. Jan.
81796.
Fool— D. L. April 15 1785— C. 6. Dec. 14 1785.
Fool's Preferment— T. R. 1688— D. L. July 16 1703.
Fool turned Critick— T. R. 1678.
Fool would be a Favourite — see vol. 10 p. 80.
Foote and Duchess of Kingston — see end of Hay. 1776.
Foote's characters, &c. — Hay. 1777.
Foote's Comic Theatre — see vol. 10 p. 259.
Foote Miss— see C. G. Sep. 14 1814 and Bath Feb. 13 and 14
1826.
Footman— G. F. March 7 1732.
Footman turned Gentleman — L, I. F. March 13 1717.
Forced Marriage by Mrs. Behn— D. G. 1672.
Force of Calumny — see vol. 10 p. 215.
Force of Fashion— C. G. Dec 5 1789.
Force of Friendship — Hay. April 20 and May 1 1710.
Force of Nature — Hay. July 16 1830*
Force of Ridicule— .D. L. Dec. 6 1796.
Ford's Works— a new EkUtion by Weber in 1811.
Digitized by VjOOQ IC
IKDEX. zlvii
For EngUmd Ho I— C. 6. Dec 15 1813.
Forester— «ee vol. 10 p. 205.
Forest of Bondy— C. G. Sep. 30 1814— €• G. Not. 10 182».
Forest of Hennan8tadt-.acted by C. G. C. Oct. 7 1808.
Forget and Forgive— D. L. Nor. 21 1827— altered to Frolicks in
France D. L. March 15 1828.
Fortress — Hay. July 16 1807.
Fortunate Peasant — see Victor's works 1776.
Fortunate Prince — see vol. 10 p. 158.
Fortnoatus and his Sons — G. G. April 12 1819.
Fortune by Land and Sea— see yoL 9 p. 595.
Fortune Hunters C. in 3 acts — Hay. July 23 I8l2.
Fortune Hunters, or Two Fools well met — T. R. 1689 — Hay.
June 10 1707— L. I. F. March 9 1728.
Fortune in her Wits — see vol. 10 p. 65.
Fortune of War— C. G. May 17 1815.
Fortune's Fool— C- G. Oct. 29 1796.
Fortune's Frolic— C. G. May 25 1799l— Hay. June 20 1799.
Fortune's Tricks in Forty-Six— see vol. 10 p. 174.
Fortune's Wheel— by D. L. C. May 7 1793.
Fortunesof Nigel— Bath Dec. 7 1822.
Fortuneteller— D. L. Sept. 29 1808.
Forty Thieves— D. L. April 8 1806— C. 6. June 14 1815.
Foscari— C. G. Nov. 4 1826.
Foul Deeds will Rise— Hay. July 18 1804.
Foundling— D. L. Feb. 13 1748— D. L. April 10 1764 — D. L.
Feb. 7 1770 — Liverpool Sep. — 1773 — D. L. March 21
1782— C. G. April 8 1786— C. G. Oct. 4 1786— C. G. Sep.
28 1787— D. L. C. Jan. 9 1793— D. L. Nov. 1 1804.
Foundling of the Forest— Hay. July 10 1809— C. G June 8 1810
— D. L. June 10 1815— D. L. June 16 1826.
Four Plays, or Moral Representations in one «- see vol. 10 of
Beaumont and Fletcher 1778.
Four Prentices of London — see vol. 4 p. 125.
Four P'fr— «ee Istvol. of Dodsley 1744.
Fox — see Volpone.
Fox Chase— see vol. 10 p. 228.
Frankenstein— C. G. July 9 1824.
Frederick Duke of Brunswick— L. I. F. March 4 1729.
Frederick the Great— see Bath Oct. 22 1814-
Digitized by VjOOQ IC
Xiviii INDEX.
Fredolfo^C. 6. May 12 lai9.
Free KnighU, or Edict of Charlenuigiie — G. G, VA* 8 laiO —
see Orphan of Casde Belh Mbrch 17 1814.
French Comedians at Hay. 1739 -?« not soflSsred to act by tlie
Pnblic.
French Conjoror — D. G. 1677.
French Fl(^ged— see English Tars in Ameciea C. G. March SO
1761.
Frenchified Lady— C. 6. March 23 1756— D. L. April 11 1765
— D. L. March 24 1770.
French Libertine ~C. G. Feb. 11 1826.
Frenchman in London — see vol. 10 p. 178.
Friend Indeed f— C. G. Nov. 5 1817.
Friend in Need— D. L. Feb. 11 1797.
Friend in Need is a Friend indeed — Hay. Jaly 5 1783.
Friends— (T. by Meilan)— see vol. 10 p. 187.
Friendship Improved — ^L. I. F. 1699.
Friendship in Fashion— D. G. 1678 — D. L. Jan. 22 1750.
Frighten'd to Death— D. L. Feb. 27 1817.
Frost and Thaw— C. G. Feb. 25 1812.
Frozen Lake— C. G. Nov. 26 1824.
Fryer Peg — ^returns to the stage at L. I. F. Jan. 11 1720 — she
had not acted since the time of Charles 2d.
Fugitive (partly from Czar)— C. G. Nov. 4 1790.
Fugitive (C.)— by D. L. C. April 20 1792— Bath Nov. 30 18».
Fugitives— (not acted) see vol. 10 p. 199.
Faimns Trees — see 3d vol. of Dodsley 1744.
Funeral- D. L.1702— C. G.Feb. 16 1739— D. L. April 22 1740
— C. G. Nov. 11 and 20 1745~D. L. Jan» 13 1749— <3. G.
April 21 1758— D. L. Feb. 8 1760— C. G. AprU 23 1773—
— C. G. April 30 1789— D. L. April 17 1799.
G
Gallant Moriscoes^-see vol. 10 p. 203.
Gallantry, or Adventures in Madrid — D. L. Jan. 15 1820.
Gallathea— see vol. 9 p. 572.
Gallery opened gratis to Footmen — see D. L. 1697.
Gallic Gratitude— C. G. April 30 1779.
Galigantus— D. L. April 14 1760.
Gambler*s Fate— D. L. Oct. 15 1827.
Game at Chesse— see vol. 10 p. 11.
Digitized by VjOOQ IC
INDEX.
xlix
Gamester, by Mrs. Cendivre — L. I. P. Feb. 22 1705 — D. L.
March 18 lt09— L. I. P. June 25 1717— L. T. P. Oct, 17
1727— D. L. Oct. 13 1 766.
Gamester, by Moore— D. L. Feb. 7 1753— D. L. March 16 1771
— C. G. Jan. 4 1781— D. L. Nov. 22 1783— C. G. Sep. 25
1786 — C. 6. May 4 1797— C. G. Oct. 27 1803 — D. h.
March 20 1813— C. G. Dec 14 1814— D. L. Nov. 21 1828.
Gamesters, altered from Shirley— D. L Dec 22 1757— D L.
Oct. 30 1772— C. G.Jan. 22 1790— D. L. April 28 1806.
Gammer Gorton's Needle — see 1st vol. of Dodsley 1744.
Gander HaU— Hay. Aug. 5 1799.
Garrick, his Ist app. — G. F. Oct« 19 1741— for the dispute be*
tween him and Macklin, see D. L. 1743-1744 — ^he becomes
joint Patentee of D. L. in 1747-1748 — leares the stage in
June 1776.
Oarrick in the Shades— see end of D. L. 1775-1776.
Garrick's Ode on Shakspeare— D. L. Sep. 30 1769.
Gaul, King of Ragah— see vol. 10 p. 232.
Gay Deceivers — Hay. Aug. 22 1804— Hay. Sep. 4 1823.
Gazette Extraordinary— C. G. April 23 181 1.
General Lovof — see vol. 10 p. 175.
Generous Artifice — see vol. 10 p. 262.
Generous Attachment — see vol* 10 p. 204.
Generous Choice— L. I. F. 1700.
Generous Counterfeit — see vol. 10 p. 195.
Generous Conquerour — D. L. 1702.
Generous Enemies — T. R. 1671.
Generous Freemason — Hay. 1731.
Generous Husband — D. L* Jan. 20 1711.
Generous Impostor — D. L. Nov. 22 1780.
Genius of Nonsense — Hay. Sep. 2 1780«
Genlis Madame de— see 1786- 1 787*
Genoese Pirate— C. G. Oct. 15 1798.
Gentleman Cully-^L. I. P. 1702.
Gendeman Dancing Master^— D. G. 1672.
Gentleman Gardener — C. G. March 29 1749.
Gentleman of Venioe-^--8ee vol. 9 p. 562.
Gentle Shepherd — D. L. May 9 1774 — D. L. May 27 1789
C. G.May 23 1794.
Ctontle Shepherd, rendered into English — C. G. June 27 1817.
Geoigea Greene — see 1st vol. of Dodsley 1744.
A
Digitized by VjOOQ IC
1 1ND£X.
George Barnwell — (see London Merchant) Hay. Sep. 6 1804 —
Bath Jan. 29 1817 with last scene.
George Dandin— D. L. Not. 25 1747.
Geraldi Dnval—D. L. Sep. 8 1821.
German Hotel— C. G. Nof. 11 1790.
German Princess— L. I. F. April 15 1664.
Ghost— D. L. April 10 and Oct. 4 1769— G. G. April 23 1783*
Hay. Aug. 25 1786^D. L. C Jan. 25 1793-C. 6. Oct. 19
1795.
Ghost, or the Woman wears the Breeches see vol. 10 p. 111.
Ghosts, by Holden^-see L. I. F. 1665.
Gibralter— D. L. Feb. 16 1705.
GifBurd opens his new theatre in G. P. Oct. 2 1732— vents L.I.F.
of Rich in 1736-1737 — re-opens G. F. in 1740 — re-opens
L. I. F. in 1742-1743.
QH Bias— D. L. Feb. 2 1751.
GiUeroy— Bath May 18 1829.
Gipsy Prince— Hay. Joly 24 1801.
Gipsies — Hay. Ang. 3 1778.
Girl in Style— C. G. Dec 6 1786.
Gloriana— T. R. 1676.
Glorious Revolution in 1688 — see voL 10 p. 236.
Glory of Columbia — see vol. 10 p. 234.
Gnome-King— C. G. Oct. 6 1819.
Goblins— T. R. Jan 24 1667— for the plot see 7th vol. of Dods-
ley 1744.
Godolphin— D. L. Oct. 12 1813.
God*s Promises— see Ist vol. of Dodsley 1744.
(Golden Glove— see vol. 10 p. 233.
Golden Pippin-C. G. Feb. 6 1773— C. G. May 11 1792.
Goldsmith— Hay. Aug. 23 1827.
<}onzalOy or Spanish Bandit— «ee vol. 10 p. 286.
Goodman's Fields theatre opened by Odell in 1729.
Goodman's last app.— see T. R. 1688.
Good-natured Man— C G. Jan. 29 1768— Hay. Ang. 26 1783—
C. 6. April 20 1789— C. G. April 22 1800 t- Hay. July 11
1804— C. G. March 16 1826.
Gorboduc — see Ferrex and Porrex in Hawkms 1773.
Grorta of Berlingen — see vol. 10 p. 215. .
Gospel Shop — ^see vol. 10 p. 192.
Digitized by VjOOQ IC
INDEX* li
Gotham Eleetion — see toL 10 p. 154.
GoTernonr of Gypnu— .L. 1. F. 1703.
Gnmadier— see 0*Kee£Fe'8 works 1798.
Grand Alliance— C. G. Jane 13 1814.
Grandpapa — D. L. May 25 1825.
Grand Toar, or Stopped at Rochester^G. G. May 22 1821.
Grateful Servant— see vol 9 p. 544.
Great Doke of Florence— see vol. 2 of Massinger 1804-1805.
Great Favourite— T. R. Feb. 20 1668.
Great Unknown ! — Hay. Sept. 9 1823.
Grecian Daughter— D. L. Feb. 26 1772— C. G. Oct. 31 1774—
Hay. June 14 1780 — C. 6. Oct. 21 1782 — D. L. Oct. 30
1782— C. G. Nov. 12 1792 — C. G. Jan. 6 1798— C. G.
Feb. 16 1804— D. L. May 3 1813 — C. G. April 29 1815—
C. G. Jan. 18 1830.
Grecian Heroine— see vol. 10 p. 156.
Greek Family— D. L. Oct. 22 1829.
Greek Slave, or School for Ck>ward8— D. L. March 22 1791.
Green— see Bath Jan. 31 1821.
Green-eyed Monster— by D. L. C. Oct. 14 1811.
Green-eyed Monster, by Planch^ — Hay. Aug. 18 1828 — D. L.
Oct. 28 1828.
Green Man— Hay. Aug. 15 1818 — Hay. July 8 1826.
Green Mrs.— her characters— C. G. 1779-1780.
Green Room, a Prelude — Hay. Aug. 27 1783.
Green Room— C. G. Oct. 18 1826.
Green's Tu Quoque— L. I. F. 1665.
Greenwich Park— T. R. 1691— D.L. April 17 1708^^0. L. Oct.
10 1730.
Greenwich — splays acted there in 1710.
Gretna Green— Hay. Aug. 28 1783— Hay. July 30 1795.
Gretna Green, Operatic Farce— C. G. Oct. 13 1827.
Grieving is a Folly— D. L. C. April 21 1809.
Griffin Benjamin— his characters— D. L. 1739-1740.
Griffin Capt.— see D. L. 1706-1707.
Grim the Collier of Croydon— see 6th vol. of Dodsley 1744.
Grove^ or Love's Paradise— D. L. 1700.
Grub Street Opera— Hay. July— 1731.
Grumbler- D. L. April 30 1754— probably altered from Sedley.
Grumbler, altered from Sedley— C. G. May 8 1773. (B,D.)
Digitized by VjOOQ IC
fii iHDcau
GnarfiMi) b^ Cowlej— Me L. L F. Dec 16 1661— ne iroL 10 p.
63.
Gmrdma, by Mjunnger— -Me toL 4 of Mmmnger 1804-1805.
Qtmrdmn, hj Garrick— D. L. Feb. 3 1759—0. 6. AprQ 4 1769
— D. L April 23 1771— C. G. Dee. 16 1775— Hay. July
12 1784— D. L. Feb. 2 1785— C. G. Aprfl 11 1787— C. 6.
Not. 25 1796— Hay. Sep. 13 1797— C. G. Jane 16 1807.
Goardsaa Outwitted— C. G. Dee. 12 1764.
Guar^aaa, b^ Tobin— D. L. Nor. 5 1816.
Guardians^ or Man of my own Choioe — lee roL 10 p. 228.
Gn^;eon8 and Sharks— Hay. July 28 1827.
Guilty, or not Guilty— Hay. May. 26 1804— C. G. May 30 1805b
Gnnilda— eee vol. 10 p. 224.
GuitaTUS Vafa, by Brooke— eee end of D. L. 1738-1739— C. 6.
Dec. 28 1805.
Gufltarua Vaaa (Hero of the Nortfa>— C. 6. Not. 29 1810.
Guy Fawket— Hay. Not. 5 1793.
Guy Mannering— C. 6. March 12 1816— D. L. Oct. 7 1819.
Guzman— eee end of D. G. 1671.
Gwyn Nell— eee Union 1682.
H.
Hafed the Gheber— D. L. Not. 29 1824.
HaU FeUow well met— C G. May 8 1792.
Uaines — for his Epilogue on an Ass — see toL 2 p. 106— his dia-
meters D. L. 1701.
Hale— see C. G. 1745-1746.
Half an Hour after Supper— Bay. May 25 1789.
Half an Hour in England without Ck>sening I— see C« G. June
29 1819.
Half Pay OfBcers— L. I. F. Jan. 11 1720.
Halidon Hill— see toL 10 p. 242.
Hallam Mrs.— her characters— C. G. 1739-1740.
Hamblin— see end of Bath 1822-1823.
HamUton Mrs.— her characters— C. G. 1761*1762.
Hamlet— L. I. F. 1662— D. G. 1673— D. L. Jan. 15 1706—
D. L. Oct. 27 1711— t. I.F. Oct. 13 1722— D.L. Jan. 23
1738— D. L. Not. 16 1742— C. G. June l3 1746— D. L
March 24 1747— C G. Oct. 24 1754^D. L. Mardi 20
1755— D. L. April 4 176Sr-C. G, April 25 1768— C G.
Dec. 29 1775— Hay. Aug. 17 1780— Bristol June 27 1781
(see Bath bills) Mrs* Siddons acted Hamlet— D. L. Sept. 90
Digitized by VjOOQ IC
INDEX, liii
1789— D. L. May 15 1780— Hay. May 18 1787— C. G. Nor.
16 1789— Hay. Aug, 18 1795— D. L. April 29 .1796—
C. G. Sept. 27 1802— C. G. Nov. 27 1805— Hay. June 22
1807— D. L. Oct. 10 1813^— D. L. March 12 1814— Hay.
Oct. 2a 1824— Bath Feb. 1 1838.
Hamlet, mangled by Garrick— D. L. Dec. 18 1772— D. L. May
SO 1776— D. L. Sep. 30 1777— Shakspeare'a play reatored
at D. L. April 21 1780.
Hamlet Trarestie— C. 6. June 17 1813.
Hamlet's advice to the players by Mathews — Bath Jan. 6 1616.
Hampstead Heath— D. L. Oct. SO 1705.
Hanging aad Marriage— L. I. F. March 15 1722.
Hannibal and Sdpio— see vol. 10 p. 58.
Hannah Hewit, or Female Cmsoe — ¥>. L. May 7 1798.
Happiest Day of my Life — Hay. July 29 1829.
Happy Captive— see vol. 10 p. 169.
Happy Family — see vol. 10 p. 210.
Happy Lovers— see vol.10 p. 171.
Happy Prescription — see Hayley at die end of 1783-1784.
Harlequin Anna Bnllen — ^L. I. F.- Dec. 11 1727.
Harlequin Hoax^^ D. L. June 15 1815.
Harlequin Incendiary, or Columbine Cameron — D. L. March 3
1746.
Harlequin's Invasion— D. L. Deo. 31 1759— D. L. Dec. 28 1786.
Harlequin a Sorcerer— L. I. F. Jan* 21 1725.
Harleqnin Student, or the Fall of Pantomime with the Restoration
of the Drama— G. F. Maroh 2 1741.
Harley's 1st app. at D. L.8ep. l& 1815.
Harlot's Progress— D. L. March 31 1733— D. L. May 8 1738.
Harold— see D. L. Jan. 24 1778.
Haroun Alraschid (altered from Mthiof) — C. G. Jan. 11 1813.
Harper's Daughter— €. G. May 4 180S.
Harris — ^for his characters see Union 1682.
Harris and Colman— violent disputes between them— -flee end of
C. 0.1767-1768.
Harry, Le Roy— C. O. July 2 1813.
Hartford Bridge^-C. G. Nov. 3 1792.
Hartley Mrs.— ^her characters C. G. 1779-1780.
Hart's kst app. — see Uaioii 1682.
Harvest Home-— see end of Hay. 1767*
Hamted Jnn^D. L. Jan. 31 1828.
Digitized by VjOOQ IC
liv INDEX.
Haanted Tower— D. L. Not. 24 1789.
Havard— his characters — D. L. 1768-1769.
Haymarket (now Opera House)— opened April 9 1705.
Haymarket— new theatre opened in 1722 or 1723— second price
taken Sept. \6 1811— not opened 1813.
Heathen Martyr, or Death of Socrates— see toL 10 p. 172.
Hear both Sides — D. L. Jan. 29 1803.
Heart of Mid-Lothian, by Terry— C. G. April 17 1819.
Heart of Mid-Lothian, by Dibdin— see Bath Dec 8 1819— D. L.
July 12 1821 and May 29 1822.
Heart of Mid-Lothian, by Dimond— Bath Dec. 3 1819— Bath
March 15 1828.
Hearts of Oak— D. L. Nor. 19 1803.
Hebrew— D. L. March 2 1820.
Hebrew Family— C. 6. April 8 1825.
Hecuba, by Delap—D. L. Dec. 11 1761.
Hecuba, by WesU-D. L. Feb. 2 1726.
Hector— see toL 10 p. 231.
Hector of Germany— see vol. 10 p. 95.
Hectors, or False Challenge— see vol. 10 p. 131.
Heigho for a Husband-Hay. July 14 1794— D. L» Fib. 6^1802.
Heir— see Stolen Heiress L. I. F. Dec 31 1702.
Heir at Law— Hay. July 15 1797— C. G. Dec 12 1797— D. L.
May 2 1808~D. L. Feb. 6 1823.
Heiress— D. L. Jan. 14 1786-Hay. Aug. 17 1780— & G. May
14 1789— D. L. Dec. 11 1804.
Heiress, or Antigallican— D. L. May 21 1759.
Heir of Morocco— T. R. 1682— D. L. Aug« 9 1704.
Heir of Vironi— C. G. Feb. 27 1817.
Helpless Animals— C. G. Not. 17 1819.
He " Lies Uke Truth'*— Bath Nov. 8 1828.
Henderson's characters — C. G. 1785-1786.
Hen-Peck'd Captain- D. L. April 29 1749.
Henri Quatre— C. G. April 22 1820—D. L. June 21 18M.
Henriette, or Farm of Senange— C. G. Feb. 23 1821.
Henry and Emma— C. G. April 13 1774-D* L. April 20 1775
—Hay. Sep. 6 1780.
Henry and Rosamond—see C. G. May 1 1773*
Henry and Almeriap— «ee vol. 10 p. 223.
Digitized by VjOOQ IC
INDEX. Iv
Henry 2d, by H11II--C. G. May 1 177S-Hay. July 26 1787~
D. L. Dec 26 1787.
Henry 2d, by Moantfort— T. R. 1692.
Henry 2dy by Ireland — see vol. 10 p. 210.
Henry 3d of France— T. R. 1678.
Henry 4th of France— L. I, F. Nov. 7 1719.
Henry 4th part Utr^T. R. Nov. 2 1667— L. I. F. 1700— Hay.
Oct. 26 1706— D. L. March 3 1716-L. I. F. Oct. 20 1716
— L. I. F. Jan. 28 1721— D. L. Jan. 12 1738— C. G. Dec
6 1746— D. L. Jan. 16 1747— D. L. Sep. 26 1762— C. G.
March 16 1774-Hay. Jnly 24 1777— D. L. Oct. 17 1777—
C. G. Oct. 23 1779— Hay. Jnly 21 1786— C. G. Nov. 22
1786— D. L. C. Nov. 7 1791 — Hay. Aug. 6 1792 — C. G.
Dec 9 1796— Hay. May 18 1803— C. G. May 3 1824—
D. L. May 11 1826.
Henry 4th part 2d— D. L. Dec 17 1720-D. L. May 19 1731—
6. F. Oct. 2 1782— D. L. Sep. 24 1734— D, L. March 11
1736— C. G. March 2 1749— C. G. April 10 1766— D. L.
March 13 1768-C. G. Dec 11 176L— D. L. Jan. 18 1764
— C. O. April 27 1773— D. L. Nov, 24 1777— C. G. Oct. 30
1784— C. G. Jan. 17 1804h-C. G. June 26 1821 with Co-
ronation.
Henry 6th, by Hill— D. L. Dec 6 1723.
Henry 6th, by Lord Orrery— L. I. F. Ang. 13 1664.
Henry 6th, by Shakspeare— G. F. Nov. 26 1736— C. G. Feb. 23
1738— C. G. Nov. 18 and Dec 11 1746— D. L. Dec 16
and 31 1747— C. G. Jan. 16 and Feb. 19 1750u-.C. G. Nov.
13 1761 with Coronation — C. G. Sep. 22 1769 with Cham-
pion—C. G. May 11 1778— D. L. Oct. 1 1789— D. L. Dec
14 1801 —Hay. Sep. 6 1803— C. G. Oct. 26 1803— C. G.
March 4 1811— C. 6. Oct. 4 1819— D. L. Jnne 2 1826.
Henry 6th part 1st, by Shakspeare— C. G. March 13 1738.
Henry 6th, altered by Theo. Cibber— D. L. Jnly 6 1723.
Henry 6th Ist and 2d parts, by Crowne — ^D. G. 1681.
Henry 7th— D. L. Jan. 18 1746.
Henry 8th— L. I. F. 1664— L. I. F. 1700— Hay. Feb. 16 1707
— D. L. May 21 1722— L. I. F. Oct. 30 and April 22 1726-
1726— with grand Coronation D. L. Oct. 31 1727— see Feb.
17 1728 for Coronation— D. L. Oct. 14 1734— C. G. Jan. 24
1744— C. 6. Nov. 6 1772_Hay. Ang. 29 1777— C. G. Oct.
30 1780— C. G. March 26 1787— D. L. Nov. 26 1788—
C. G. May 16 1799— C. G. April 23 1806— Bath Dec. 30
1820— D. L. May 20 1822— C. G. Jan. 16 1823— D. L.
June 9 1824.
HeracUns, by • *— see vol. 1 p. 73.
Heradius, by Carlell-*see vol. 10 p. 138.
Digitized by VjOOQ IC
ivi INDEX.
Hmnioiie— C. 6. April 22 1800.
Herminins and Espatia — see vol. 7 p. 133.
Herod and Mariamney by Pordi^e — i>. 6. 1674.
Herod the Great — see Lord Orrery 1739.
Hercules and Omphale~C. 6. Nov. 21 1794.
Heroick Friendship-Hsee vol. 10 p. 155.
Heroick Love— L. I. R 1698 — D. L. March 19 1713— D. L.
Oct. 21 1725-D. L. March 18 1766.
Heroick Lover — see vol. 10 p. 136.
Heroine^ by Phillips — D. L. Feb* 02 1819.
Heroine of Cambria — see Hayley 1784. •
Heroine of the Cave— D. L. March 19 1774— C. 6. March 22
1784.
Hero and Leander— ^ee vol. 10 p. 142.
Hero of the NQrth— D. L. Feb. 19 1803.
Heron Mrs.^D. L. 1735- 1736.
He's much to blame— C. G. Feb. 13 1798.
He would be a Soldier— C. 6. Nov. 18 1786 —in 3 acts & G.
May 16 1794.
He wou'd if he cou*dy or an Old Fool worse, than any -* D. L.
April 12 1771.
Hey for Honesty, Down with Knavery— see vol. 10 p. 48.
Hibeniia Freed-L. I. F. Feb. 13 1722.
Hide and Seek— C. 6. Feb. 24 1789..-
Hide and Seekp— Hay. Oct. 22 1824.
Hide Parkp— T. B. July 11 166&— for the plot see vol. 9 p. 549.
Highland Faip— D. L. March 20 1731.
Highland Reel— C. G. Nov. 6 1768— D. L. May 12 180S— D. L.
May 27 1815.
Highmore exposes himself on the stage at D. L. Feb. 19 1730 —
purchases part of the D. L. Patent in 1732-1733— deseKted
by the performers, and sells the Patent to Fleetwood in
1733-1734.
High Life Below Stairs— D. L. Oct. 31 1759 — D. L. March 18
1771— D. L. April 12 1785— C. G. April 27 1787 — C G.
April 11 1791— C. G. March 14 1796- Hay. Aug. 5 1797—
C. G. April 27 1798— C. G. May 23 1810— C. G. Nov. 28
1820— D. L. Dec 13 1827.
High Life in the City— Hay. Jnly 26 1810.
High Road to Marriage— D. L. May 27 1803.
High Notions— D. L. Feb. 11 1819.
Digitized by VjOOQ IC
INDEX. ItU
HUl Aaron^see D. L. Feb. 9 1750.
Hint to Husbands— C. 6. March 8 1806.
Hints for Painters I— C. 6. May 10 1803.
Hippisley— see C. 6. 1747-1748 for his characters.
Hippisley's Drunken Manr-L. I. F. April 14 1732.
Historia Histrionica— see vol. 1 p. 11.
Historical Register for 1736— see Hay. 1737.
Hit or Miss— D. L. C. Feb. 26 1810— C. 6. Nov. 18 1812.
Hobbies— Mathews in imitation of the Amateur — C. 6. June 9
1818— Bath May 28 1814.
Hobby Horse— D.L. April 16 1766.
Hob in the Well— C. G. May 26 1784— C. 6. Dec IS 1786—
D. L. Jane 3 1795— C. G. Jane 21 1811— D. L. Jane 18
1823.
Hob's Wedding— L. I. F. Jan. 11 1720.
Hodgson, formerly of the King's Company, had bt. at D. L.
June 2 1721.
Hofer, the Tell of the Tyrol— D. L. May 1 1830.
Hog hath lost his FearL-see vol. 3 of Doddey 1744.
Hole in the Wall— D. L. Jane 23 1813.
Holiday Time— see Dash D. L. Oct. 20 1804.
Hollander — see toL 10 p. 52.
Holland's Leagner — see vol. 10 p. 51.
Holman's characters— Hay. 1811.
Home Sweet Home, or the Raas Des Vaehes— C. G. March 19
1829.
Honest Criminal— see vol. 10 p. 191.
Honest Frauds— Hay. July 29 1830.
Honest Man's Fortane— see 10th vol. of Beanmont and Fletoher
1778.
Honest Soldier—see vol. 10 p. 226.
Honest Lawyer— see vol. 10 p. 97.
Honest Thieves-C. G. May 9 1797— Hay. Aug. 3 1797— D. L.
Oct 6 1803— C. G. May 13 1820.
Honest Whore— see Reed 1744.
Honest Yorkshireman— C. G- July 11 1735— Hay. Aag. 1 1785
— G. F. Nov. 12 1735— C. G. March 14 1738— G. G.March
21 1757— Hay. Aog. 16 1785— D. L. Jane 3 1788— Hay.
Aog. 19 1806.
Honesty's the best Policy— D. L. May 31 1815.
Honey Moon C. Op.— D. L. Jan. 7 1797.
Digitized by VjOOQ IC
Iviii INDEX.
Honey Moon, by Tobin — D. L- Jan. 31 1805— Hay. Aug. 17
1805— C. G. May 22 1806— C. G. May 81 1821.
Honour, or Arrivalgfrom College— D. L. April 17 1819,
Hooly and Fairly— C. G. April 28 1798.
Horace, by Cotton— see voL 10 p. 142.
Horatins, by Lower — see vol. 10 p. 68.
Horden— see Neglected Virtne D. L. 1696.
Horns— see Cuckold's Haven T. R. 1685.
Horse and Widow— C. G. May 30 1799.
Horton Mrs.— D. L. June 6 1715— D. L. AprU 5 1726-for lier
characters, see C. G. 1749-1750.
Hospital for Fools— D. L. Nor. 15 1739.
Hotel, or Double Valet— D. L. Nov. 21 1776.
Hour before Marriage— C. G. Jan. 25 1772.
House out at Windows — D. L. May 10 1817.
House of MorviUe-D. L. C. Feb. 27 1812.
House to be Sold— D. L. Nov. 17 1802.
Hovel— D. L. May 23 1797.
How a man may choose a Good Wife from a Bad — see Old
Flays 1823-1824.
How to grow Rich— C. G. April 18 1793.
How to be Happy— Hay. Aug. 9 1794.
How to Teaze and How to Flease — C. 6. March 29 1810.
How to die for Love-D. L. C. May 21 1812.
How to try a Lovei^-see vol. 10 p. 234.
Hudibras, or Trulla's Triumph— L. I. F. March 9 1730.
Hue and Cry— D. L. May 11 1791.
Hugh Evans— (instead of Sir Hugh)— see C. G. April 25 1804.
Hughes Mrs— see Nell Gwyn at Union 1682.
Huguenot— C. G. Dec. 11 1822.
HuletU-see G. F. 1735-1736.
Hull's characters— C. G. 1807-1808.
Humfrey Duke of Gloucester — D. L. Feb. 15 172d.
Humourists, by Shadwell-L. I. F. 1670.
Humorous Courtier— see vol. 9 p. 555.
Humorous Lieutenanl^T. R. Aprils 1663-D. L. 1697^D. L.
April 11 1709— D. L. April 18 1724— C. G. Dec. 10 1756
—C, G. March 21 1767— for the plot see vol. 6 p. 43.
Humorous Lieutenant, altered by Reynolds — C. 6. Jan. 18
1817.
Digitized byXjOOQlQ
INDEX. lix
Hmnoroiu Lovers — L. I. F. March dO 1667 — for the plot lee
vol. 10 p. 74.
Humourist— flee D. L. April 27 1785.
Hmnonr of the Age — D. L. 1701.
Humonn of an Election — C. G. Oct. 19 1780 — C. G. Nov. 4
1806.
Hnmoors of Oxford— D. L. Jan. 9 1730.
Hnmoors of Purgatory — L. I. F. April 3 1716.
Humours of the Army D. ^- Jan. 29 1713 — D. L. April 23, 26
and 30 1746.
Humours of the Conrt-^-see vol. 10 p. 157.
Humours of the Road — see vol. 10 p. 166.
Humours of the Turf— D. L. April 25 1772.
Humours of Whist — see vol. 10 p. 171.
Huniades— D. L. C. Jan. 18 1792.
Hunter of the Alps— Hay. July 3 1804^-C. 6. May 27 1806—
C. 6. March SO 1824.
Hunt the Slipper- Hay. Aug. 21 1784— Bath March 24 1795 —
D. L. May 17 1804.
Hurlothrumbo — Hay. 1729.
Husband at Sight— Hay. Aug. 13 1830.
Husband his own Cuckold— L. L F. 1696.
Husbands and Wives— C. 6. Dec 3 1817.
Husband's Mistake— C. G; Jan. 5 1830.
Hycke-Scorner — see 1st vol. of Hawkins 1773.
Hyde Park in an Uproar— D.L. June 17 1813.
Hydrophobia— see vol. 10 p. 235.
Hymen's Triumph — see vol. 9 p. 582.
Hypermnestra, or Love in Tears — see vol. 10 p. 160.
Hypocrite— D. L. Nov. 17 1768— C. G. Oct. 9 1773— C. G. Oct.
6 1784— D. L. Dec 2 1789— D. L. April 16 1804— D. L. C.
Jan. 23 1810— Bath Jan. 5 1816— Hay. Aug. 13 1822 —
D. L. May 7 1823.
I.
Ibrahim, by Mrs. Pix— D. L. 1696— D. L. Oct 20 1702— L. I. F.
March 14 1715.^t
Ibrahim, by Settle— D. G. 1676.
Idiot Witness— Bath March 22 1827.
If you know not me, you know Nobody— see vol. 9 p. 587.
Ignez de Castro— see vol. 10 p. 222.
Digitized by VjOOQ IC
IZ INDEX.
Ignoramiifl ^ see English Lawyer T. R. 1678 — D. L. June If
1716— L, I. F. Not. 29 1736.
II Bondocani— C 6. Nor. 15 180O.
Hl-natared Man— see vol. 10 p. 189.
I'D teU yon what I— Hay. Aug. 4 1785— C. 6. May 20 1786.
lUnraination— C. 6. April 12 1779.
IlloMon, or Trances of Nomjahad— D. L. Nor. 25 181S.
lllnstrions Stranger— D. L. Oct. 4 1827.
lUostrioas Traveller— C. 6. Feb. 3 1818.
Imaginary Cuckold — D. L. April 11 1733.
Imaginary Obstacle— -see vol. 10 p. 260.
Imitotion— D. L. May 12 1783.
Imperial CaptiTOS—L. I.F.Feb. 29 1720.
Imperiale— «ee toL 10 p. 129.
Impertinent Lovers— D. L. Ang. 16 1723.
Impostor-— aee Brooke's works 1778.
Impostors by Reed— C. 6. March 19 1776.
Impostors by Cumberland — D. L. Jan. 26 1789.
Imposture — see vol. 9 p. 661.
Imposture Defeated— D. L. 1698.
I'm Pusiled- Hay. July 31 1819.
Ina-D. L. April 22 1815.
In andoutof Tune— D. L. March 1 1808.
Incog— D. L. June 11 1817.
InconsolaUes — see vol. 10 p. 166.
Inconstant— D. L. 1702— D. L. Oct. 16 1723— G. F. Maidi 22
1742— D. L. Oct. 11 1744 — D. L. March 12 1751— C. 6.
Nov. 26 1753— D. L. March 26 1761— C. 6. Feb. I 1763
— C. G. Nov. 4 1779— D. L. April 3 I780l— C. G. Dec 10
1787— D. L. Nov. 5 1789 — C. 6. Jan. 18 1811 ^D.L.
Feb. 15 1817— Bath Jam 16 1822— in 3 act8» D. L. May 7
1798.
Inconstant Lady— see end of 1813-1814.
Independence, or Trustee— acted by C. G. C. March 9 1809.
Independent Patriot— L. L F. Feb. 12 1737.
Indian— D. L. Oct. 6 1800.
Indian Emperour— T- R. 1665 — Hay. Jan. 25 1707— J«. L F.
Jan. 8 1717— D. L. Jan. 27 1731— G. F. Jan. 14 1734— lor
the plot see Montesnma vol. 6 p. 67.
Indian Kings at Hay. April 24 1710.
Indian Frincessyor La Belle Sauvage— see D. L. Dec. 15 1820.
Digitized by VjOOQ IC
INDSX.
Izi
Indian Queen— see T. R. 1665— D. L. Jnly 19 1715.
Indians — see vol. 10 p. 198.
Indiscreet Lover — Hay. 1768.
Indiscretion— D. L. May 10 1800.
Ines — see vol. 10 p. 204.
Inflexible Captive — see vol. 10 p. 189.
Ingratitude of a Commonwealth — see T. R. 1682.
Injured Innocence — D. L. Feb. 3 1732.
Injured Love, or Crnel Husband— ^see voL 10 p. 152*
Injured Love, or Lady's Satisfaction— D, L. April 7 171 1—- L« L P.
Dec. 18 1721.
Injured Lovers, by Mountfort — T. R. 1688.
Injured Princess (Cymbeline altered bv D*Urfey>— T. R. 1682
— L. I. F. Jan. 7 1720— see Cymbeline by D'Urfey March
20 1738.
Injured Virtue, or Virgin Martyr — see vol. 7 p. 685.
InUe and Yarico— Hay. Aug. 4 1787— C. 6. March 26 1788—
C. G. May 6 1789— D. L. May 28 1789— C. G- April 18
1798— D. L. April 13 1807— Hay. Aug. 26 1819— C. G.
Jan. 12 1825— Hay. Sept. 1 1826.
Innkeeper's Daughter— D. L. April 7 1817.
Innocence Distress'd— see vol. 10 p. 186.
Innocent Mistress— L. L F. 1697— L. I. F. Nov. 24 1718.
Innocent Usurper— T. R. 1694.
Inoculator— see vol. 10 p. '184.
Inquisitor — Hay. June 23 1798.
Inquisitor (not acted)— see vol. 10 p. 209.
Insatiate Countess— see vol. 10 p. 9.
Insolvent^ or Filial Piety— Hay. March 6 1758.
Institution of the Garter— D. L. Oct. 28 1771.
Integrity— C. & Oct. 8 1801.
Intrigue— D. L. April 26 1814— Hay. Aug. 24 1824.
Intrigues at Versailles- L. I. F. 1697.
Intrigues of a Day — see voL 10 p. 232.
Intrigues of a Morning— C. G. April 18 1792.
Intriguing Chambermaid— D. L. Jan. 15 1734— G. G. Oct. 18
1762— D. L. April 3 1773 — D. L. April 1 1785 — C. G.
March 27 1787— D. L. Nov. 3 1790— C. G. Nov. 9 1798.
Intriguing Courtiers — see vol. 10 p. 158.
Intriguing Footman— see C. G. April 21 1792.
Intriguing Milliners and Attomies' Clerks— see vol. 10 p. 168.
Digitized by VjOOQ IC
Ixii INDEX.
Inyader of his Coantry (altered by Dennid from Coriolaniis) -^
D.L.Nov. II 1719.
InvaBion— C. G. Nov. 4 1778— C. G. April 8 1793— D. L. May
26 1804.
Invincibles— C« G. Feb. 28 1828.
Invisible Bridegroom — C. G. Nov. 10 1813.
Invisible Girl— D. L. April 28 1806.
Invisible Mistress (F. from Woman's a Riddle) — D. L. April 21
1788.
Iphigenia— L. I. F. 1699.
Iphigenia^ or Victim — C. G. March 23 1778.
Irene, by Goring^D. L. Feb. 9 1708.
Irene, by Dr. Johnson— D. L. Feb. 6 1749.
Irish Fine Lady— C. G. Nov. 28 1767.
Irish Hospitality — D. L. March 15 1766.
Irish Legacy— Hay. Jane 26 1797.
Irishman in London— C. G. April 21 1792— D. L. Sep. 20 1803.
Irishman in Spain — see Hay. Aug. 3 1791.
Irish Mimic— C. O. April 23 1795.
Irish Tar— Hay. Aug. 24 1797.
Irish Tutor— C. G. Oct. 28 1822.
Irish Widow— D. L. Oct. 23 1772— C. G. April 27 1776— Hay.
July 24 1780— D. L. April 281786— C. G. Oct. 19 1787—
C. G. June 6 1795 — D. L. Oct. 21 1797 — D L. May 11
1814— C. G. Sep. 26 1821.
Iron Age — see vol. 9 p. 596.
Iron CSiest— D. L. March 12 1796— Hay. Aug. 29 1796— C. 6.
April 23 1799— D. L. May 29 1801— Hay. June 22 1803—
acted by C. G. C. Jan. 4 1809— D. L. Nov. 23 1816— C. 6.
June 26 1822-C. G. May 10 1825— D. L. June 5 1826.
Iroquois, or Canadian Basket-Maker — C. G. Nov. 20 1820.
Isabella (see Fatal Marriage) — C. G. March 31 1770 — D. L.
Nov. 25 1774— C. G. March 30 1778— D. L. Oct. 10 1782
—0. G. March 20 1784— Hay. Aug. 5 1784— C. G. Feb. ll
1791— C. G. Sep. 27 1803 — C. G. Nov. 4 1814 — C. 6.
April 28 1830.
Is he Alive ?— D. L. June 15 1818.
Is he a Prince ?— acted by C. G. C. Feb. 7 1809.
Is he Jealous ?— Bath Dec. 3 1816.
Isidore di Merida— D. L. Nov. 29 1827.
Manders-C. G. Nov. 25 1780.
Digitized by VjOOQ IC
INDEX* Ixiii
Island of Slaves— D. L. March 26 1761.
Island of St. Marguerite— D. L. Not. 13 1789.
Island Princess — T. R. 1669 — for the plot see the Bth yoL of
Beaumont and Fletcher 1778.
Ishmd Princess, altered by Tate — ^T. R. 1687.
Island Princess, altered by Motteux— D. L. 1699— C. G. Dec. 10
1739.
Island Queens— see T. R. 1684.
Isle of Gulls — see vol. 10 p. 18.
Israelites, or Pampered Nabob — C. G. April 1 1785.
Italian Husband— L« I. F. 1697.
Italian Lover — see Julia.
Italian Monk— Hay. Aug. 15 1797— D. L. May 30 1798.
Italian Villagers— C. G. AprU 25 1797.
Italians— D. L. April 3 1819.
It should have come sooner — D. L. July 30 1723.
Ivan — see vol. 10 p. 233.
Ivanhoe, or the Jewess, by Moncrieff — see C* G. March 2 1820.
Ivanhoe, or the Knight Templar — C G. March 2 1820 — C. G.
June 1 1825.
Invisible Bridegroom — C. G. Nov. 10 1813.
Ivor, or Sighs of Ulla — see vol. 10 p. 229.
I will have a Wife— Bath Jan. 15 1827.
J.
Jack Drum's Entertainment — see vol. 10 p. 9 1 .
Jack of Newbury— D. L. May 6 1795.
Jameson Miss— «ee Bath April 6 1813.
Jane Shore— D. L. Feb. 2 1714— C. G. Jan. 25' 1735 — D. L.
March 3 1743— C. G. Jan. 2 1747— D. L.' Jan. 2 1748—
C. G. Nov. 1 1750 — D. L. March 21 1757 — D. L. Nov.
6 1773— D. L. Nov. 1 1774 — C. G. Dec. 17 1774 — C. 6.
Feb. 10 1778— D. L. Nov. 8 1782— D. L. May 7 1787—
— C. G. Nov. 30 1789— C. G. March 19 1798— C. G. Jan.
11 1804— C. G. Oct. 16 1805— Bath Feb. 4 1808 — D. L.
Jan. 8 1813— C. G. June 29 1815 — C. G. Nov. 9 1818 —
— D. L. Dec. 14 1821.
Jane Shore 1602^see vol. 9 p. 452.
Jarman Miss — see Bath 1826-1827.
Jason — see vol. 10 p. 211.
Jealous Husband, altered from Spanish Fryar .. C. G. April 7
1777.
Digitized by VjOOQ IC
Ixiv INDEX.
Jealous Husband, or Modern Gallantry— G. F. Feb. 21 1732.
Jealous Lovers— D. G. 1682.
Jealous Wife — D. L. Feb. 12 1761 — C. G. March 20 1762 —
C.G. Oct. 81 1767— D.L. Jan. 27 1776— Hayjune 18 1779
— D. L. May 5 1784— Hay. June 29 1785— C. G. April 2S
1788— C. G. April 7 1794 — C. G. Nov. 14 1797— Hay.
Dec. 17 1798— D. L. Feb. 26 1799— Hay. June 22 1799—
— C. G. Feb. 17 1807— C. G. Jan. 7 1813 — C. G. May 4
1816— Hay. Aug. 11 1819— C. G. June 1 1822— D. L. May
27 1829.
Jean de Paris— D. L. Nov. 1 1814,
Jehu— D. L. Feb. 19 1779.
Jevon's characters— T. R. 1688.
Jew— D. L. May 8 1794— Hay. Sept 3 1794 — C. G. Sep. 21
1796— Hay. May 16 1803— C. G. (in 3 acts) May 7 1814.
Jew and Doctor— C. G. Nov. 23 1798— D. L. May 31 1808.
Jewish Courtship— D. L. April 23 1787.
Jewish Education— D. L. April 19 1784.
Jew of Lubeck— D. L.May 11 1819.
Jew of Malta— D. L. April 24 1818.
Jew of Mogadore— D. L. May 3 1808.
Jew of Venice— L. L F. 1701— D. L. Feb. 8 1711— L. L F.
May 16 1717— C. G. Feb. 11 1736.
Joanna— C. G. Jan. 16 1800.
Joan of Arc — Bath March 10 1828.
Jocko, the Braxilian Monkey— C. G. Nov. 8 1825.
Joe Miller's Jests— see G. F. June 8 1730.
John Bon and Mast. Person — see vol. 10 p. 146.
John Brown-^D. L. Feb. 21 1826.
John Bull— C. G. March 5 1803— Hay. Aug. 27 1803— D. L.
June 3 1805— Hay. Aug. 26 1811— D. L. May 18 1822—
C. G. Jan. 8 1824.
John Busby— Hay. July 3 1822.
John Du Bart-O. G. Oct 25 1815.
Johnny Gilpin— D. L. April 28 1817.
John of Paris— C. G. Nov. 12 1814— Hay. Nov. 2 1826— C 6.
May 80 1827.
John of Paris, altered— Bath Dec 10 1814.
Johnson Ben— -his characters — D. L. 1741«>1742.
Johnston H^— his characters — D. L. 1820-1821.
Johnston Mr8.H.-*her characters— 1814-1815.
Digitized by VjOOQ IC
INDEX. IXT
JohnttOBe John^-tee end of C. G. 1819-1620*
Jonson Ben— see end of 1815-1816 for his Works.
23 John Street Adelphi— Bath Jan. 12 1828.
Jonathan in England — D. L. May 24 1826.
Jones— his Itt app. at C. 6. Oct. 9 1807— his Masquerade— C. G.
Jnne 2 1815.
Jordan Mrs — ^her characters— C. G. 1813-1814.
Joseph Andrews — D. L. April 20 1778.
Journey to Bristol^ or Honest Welchman^-see L. I* F. April 23
1731.
Jovial Crew— T. R. Jan. 11 1669— D. L. Dec 30 1707— Hay.
Jan. 1 1708— turned into an Opera D. L. Feh. 8 1731 —
C. G. Feb. 14 1760— C. G. Nov. 1 1774— C. G. March 29
1780L-.C. G. Dec. 15 1791— for plot see 6th vol. of Doddey
1744.
Jovial Cobler — see vol. 10 p. 176.
Juan's Early Days— D. L. Feb. 18 1828.
Jubilee at Stratford— see beginning of D. L. 1769*1770.
Jubilee at D. L. Oct. 14 1769— C. G. April 4 1775— D. L. Nov.
18 1785— Bath Nov. 23 1797— D. U— C. G and Bath
April 23 1816.
Judgment of Paris, Pant. — D. L. Feb. 6 1733.
Judgment of Paris, or Triumph of Beauty— L. I. F. May 6 1731.
Julia, by Hoare— «ee Such things were.
Julia, or Italian Lover — D. L. Apnl 14 1787 — Bath Dec 19
1815— C. G. Sep. 30 1816.
Julia de Roubign^ — Bath Dec 23 1790.
Julian and Agnes — D. L. April 25 1801.
Juliana, or the Princess of Poland — ^L. 1. F. 1671.
Julian T. by Miss Mitford— C. G. March 15 1823.
Julius Cnsar— T. R. 1682 — T. R. 1684— Hay. Jan. 14 1706—
D. L. Jan. 24 1715— L. I. F. March 1 1718— D. L. Nov. 8
1734— D. L. March 28 1747— C. G. Nov. 24 1750— C. 6.
Jan. 28 1755— a G. Jan. 31 1766 — C. G. May 4 1773 —
— D. L. Jan. 24 1780— C. G. Feb. 29 1812— G. G. June 8
1819— D. L. Dec. 7 1820— Bath Dec. 18 1820— G. G. Sep.
26 1825.
Julius Cffisar, by Sheffield-see vol. 3 p. 89.
Julius Cttsar, by Earl of Sterline— see vol. 10 p. 32.
Junius Brutus— D. L. Nov. 25 1734.
Jupiter and Alcmena— C. G. Oct. 27 1781.
Justice Busy— see vol. 2 p. 144.
k
Digitized by VjOOQ IC
IZvi INDEX.
Jastioe, or Caliph and Oobbler-«D. L. Not, '^8 1820
Just in Time— C. O. May 10 1792.
Jost Italian — see roL 10 p. 78.
K.
KuB— D. L. Feb. 11 1808.
Kamtschatka— C. G. Oct. 16 1811.
Kean Edmund — his Ist app. at D. L. Jan. 26 1814.
Keen Theophilns^see L. I.F. 1717-1718.
Kelly Miss — see vol. 9 p. 423.
Kelly's Reminiscences 1825-1826.
Kemble John Philip -^his characters — C. 6. 1816-1817.
Kemble Mrsw— eee D. L. May 23 1796.
Kemble Charles— made his 1st app. at D. L. April 21 1704.
Kemble Mrs. C. — ^her characters — C. G. 1818-1819.
Kemble Miss F. made her 1st app. at C. G. Oct. 5 1829.
Kemble Sen.— see Hay. Aug. 26 1788.
Kenilworth, in 2 acts— C. 6. March 8 1821.
Kenilworth, in 4 acts— Bath Dec 15 1821— Bath March 26
1827.
KenUworthy or the Days of Good Qneen Bess, in 4 acta— D. L.
Jan. 5 1824.
Kensington Gardens, or the Pretenders — L. I. F. Nor. 26 1719.
Kentish Barons— Hay. June 25 1791.
Key to the Lock— Hay. Aug. 18 1788.
Killegrew Thomas — see toL 1 p. 390.
Killing no Murder— Hay. July 1 1809— D. L. Feb. 6 1823.
Kind Keeper, or Mr. Limbwham— D. G. 1678.
King and 'MSl^ of Mansfield — see Miller of Mansfield.
King and no King— T. R. 1682— T. R. 1683— D. L. Jane 15
1704— L. I. F. March 26 1724— C. G. Jan. 14 1788.
King and the Duke— C. G. Dec 6 1814.
King Arthur— T. R. 1691— D. L. March 2 1706—6. F. Dec
19 1735— D. L. Dec 13 1770l-.D. L. Oct. 19 1781.
King Cambises — see vol. 1 of Hawkins 1773.
King in the Country — see toI. 10 p. 108.
KingJohnbyShakspeare— C.G. Feb. 26 1737— C. 6. Feb. 2
1738— D. L. Feb. 20 1745— D. L. March 16 1747— a G.
Feb. 28 1751— D.L. Jan. 23 1754— C. G. April 17 17fi8
— D. L. Dec 17 1760---D. L. Bfarah 20 1766~Dw h. f^
Digitized by VjOOQ IC
INDEX. IXTli
8 1774— C. O, Dec 1 1775— D. L. Nor. 29 1777— C. G.
Mkreh 29 1788— D. L. Dec 10 1788— D.L. 0. March 1
1792_D. L. May 13 1801_C. G. Feb. 14 1804— D. L,
June 1 1818— C. G. March 3 1823— D. L. Dec. 6 1824.
King John and Matilda — see toL 10 p. 72,
King John, by Valpy— C. G. May 20 1803.
King John, in 2 parts— «ee C. G. Feb. 26 1737.
King Lear^for the old play see yoL 1 p. 308.
King Lear, by Shakspeare, was acted at L. I. F- betireen 1662
and 1665-^800 voL 1 p. 62.
King Lear mangled by Tate— D. G. 1 681— Hay. Oct. 80 1706
— L. I. F. Oct. 15 1720— D. L. March 8 1739— G. F. March
18 1742-D. L. May 28 1742— C. G. Jane 11 1746— C G.
Feb. 26 1756 — D. L. Oct. 28 1756 (with restorations)—
D. L. Oct. 7 1769— C. G. Not. 24 1774— C. G. Feb. 22
1776— D. L. March 22 1779— D. L. Jan. 21 1788— C. G*
Jan. 6 1794— C. G. May 18 1808— acted by C. G. G. Feb.
27 1809 as revised by Kemble— C. G. April 13 1820— D. L.
AprU 24 J820— Bath June 21 1822— D. L. March 30 1829.
King Lear as altered by Colman compared with Tate's alteration
— C. G. Feb. 20 1768.
King Lear reviyed with the original catastrophe^D. L. Feb. 10
1823.
King Pepin*s Campaign — D. L. April 15 1745.
King Sanl— see yoL 10 p. 15!.
King Stephen— ^ee vol. 10 p. 236.
King's characters— D. L. 1801-1802.
Kiss by D. L. C Oct. 31 1811.
Knave in Grain new Vampt — see rol. 10 p. 115.
Knare or Not?— D. L. Jan. 25 1798.
Knight Edward— his characters->D. L. 1825-1826.
Knight Thomas — ^his characters — C. G. 1803-1804.
Knight Mrs. Frances— her characters— L. 1. F. 1723-1724.
Knight and Wood Dsemon— Bath Jan. 7 1813.
Knight of Burning Pestle— T. R. 1682.
Knight of Malta— C. G. April 23 1783.
Knight of Snowdoun^C. G. Feb. 5 1811— see Bath March 21
1812.
Knights— Hay. 1748-1749— D. L. Feb. 9 and 12 1754— C. G.
Jan. 14 1755— C. G. March 29 1769.
Knights of the Cross— D. L. May 29 1826.
Knipp Mrs. — ^her characters — T. R. 1678.
Digitized by VjOOQ IC
Ixviii INDEX.
Know your own Mind — C. 6. Feb. 23 1777 — CO. Dec. 13
1786— D,L, April 21 1789— Hay. Aug. 19 1811— Baili
Feb. 1 1819.
L.
Lacy became Manager of D. L. in 1745 — and Patentee in 1747.
Lacy John— liis characters — T. R. 1681.
Ladies at Home— Hay. Aug. 7 1819.
Ladies' Frolick— D. L. May 7 and Oct. 27 1770l-.D. L. May 12
1783— C. G. June 1 1790.
Ladies' Privilege— eee Old Plays 1823-1824.
Ladies' Subscription— 4ee yoL 10 p. 180.
Lad of the Hills— C. 6. April 9 1796— eee Wicklow Moontaios.
Lady and the Devil- D. L. May 3 1820L-.Hay. May 12 1825.
Lady Errant — see vol. 10 p. 54.
Lady Jane Gray — D. L. April 20 1715— D. L. Oct. 12 1738—
D. L. Nov. 11 1745— C. G. Dec. 16 1749 — D. L. Feb. 6
1752— D. L Oct. 15 1762— C. G. May 7 1773.
Lady of the Lake— Bath March 21 1812.
Lady of the Manor— C. G. Nov. 23 1778— C. G. Jan. 28 1788—
— D. L. April 23 1818.
Lady of the Rock— D. L. Feb. 12 1805.
Lady of Pleasure— see vol. 9 p. 547.
Lady Pentweaasel in Town— C. G. March 27 1787.
Lady's Choice-C. G. April 20 1759.
Lady's last Stake— Hay. Dec 13 1707— D. L. Dec 17 1715—
D. L. Oct. 3 1730— L. I. F. April 26 1732— D. L. Mardi
13 1739_C. G. March 14 1745 — D. L. April 10 1746—
— D. L. March 27 1756 — D. L. April 29 1760 — D. L.
April 9 1771— C. G. March 14 1778-C. G. March 4 1786
—Bath Dec. 11 1813.
Lady's Lecture— see vol. 10 p. 174.]
Lady's Revenge— C. G. Jan. 9 1734.
Lady's Trial— L. I. F. March 3 1669.
Lady's Triumph— see vol. 2 p. 632.
Lady's Visiting Day— L. 1. F. 1701.
Lakers — see voL 10 p. 207.
Lame Lover— Hay. Aug. 27 1770.
L'Amour a-la-Mode — see vol. 10 p. 180.
Lancashire Witches— D.G 1681 --•Hay. July 1 1707-^D.L.
June 4 1723.
Lancers— D. L. Dec. 1 1827.
Digitized by VjOOQ IC
INDEX.
hix
Land we lire in— D. L.^Dec 29 1804.
Langbaine— flee end of T. R. 1691.
liast of the Family — D. L. May 8 1797.
l4Higli when you can — G. G* Dec. 8 1798.
Law against Loven— L. L F. Feb. 18 1062.
Law of Jarar—C.G. May 11 1822.
Law of Lombardy— D. L. Feb. 8 1779— D. L. Feb. 10 1789.
Laws of Candy — see 4th yoI. of Beanmont and Fletcher 1778.
Lawyers — see yoI. 10 p. 216.
Lawyer's Feast— D. L. Dec. 12 1743.
Lawyer's Fortune — see vol. 10 p. 151.
Lawyers' Panic— C. G. May 7 1785.
Lee Lewes — ^for his characters, see D. L. 1784-1785.
Lee Lewes* Ultimatum— C. 6. June 24 1803.
Lee Mrs. Mary— see Lady Slingsby.
Lee Nat. acted Duncan, Ac— see Forced Marriage D. G. 1672 —
went mad in 1684 — see Princess of Cleve D. G. 1681.
Lee John— his characters—Bath 1779-1780.
Leicester— see vol. 10 p. 201.
Leigh Anthony— his characters T. R. 1692.
Leigh Frands-see end of D. L. 1718-1719.
Leigh John— see L. I. F. Dec. 18 1714— and April 14 1726.
Leigh Mrs.— her characters Hay. 1706-1707.
Leocadea^D. L. Dec- 17 1825.
Lesson for Lawyers (from Lame Lover) — D. L. May 5 1789.
Lethe— D. L. April 15 1740l-G. F. April 15 1741— D. L.Jan.
2 1749— D. L. March 27 1766— C. G. April 18 1757— D. L.
Jan. 23 1766— D. L. April 24 1769—1). L. Jan. 16 1772—
Bath Feb. 12 1780 — C. G. May 4 1785 — D. L. Feb. 16
1789— D. L. May 18 1803— C. G. June 16 1819.
Letter Writers— Hay. 1731.
Levee— see vol. 10 p. 169.
Levellers Levell'd— see vol. 8 p. 329.
Lewis H.— see C. G. Oct. 10 1805.
Lewis W. T — ^his characters C. G. 1808-1809.
Liberal Opinions— C. G. May 12 1800l— see School for Prejudice.
Libertine by Shadwell— D. G. 1676 — D. L. July 3 1708— D. L.
June 11 1731— D. L. Feb. 13 1740.
Libertine by Focock^C. G. May 20 1817.
Libertine, or Hidden Treasure-see vol. 10 p« 261.
Digitized by VjOOQ IC
IXX INDEX.
Liberty Asserted— L. I. F. Feb. 24 1704-C. G. April 28 and 26
1746.
Liberty Chastized—see toI. 10 p. 184.
Liberty Uall— D. L. Feb. 8 1785.
License granted to Betterton in 1695.
License granted to Gibber, &c. in 1709-1710*
License Renewed in 17l4'-andtarned into a Pirteni in 1715.
Licensing Act — 1737.
Lick at the Town— D. L. March 16 1751*
Lie of the Day (altered from Toy)— C. G. March 19 1796~D. L.
May 19 1819.
Life— C. O. Nov. 1 1800.
Life in London— Bath Not. 20 1822.
Life and Death of Common Sense — Hay. Aog. 13 1782.
Life of the Dutchess of SnfPolk— see yoL 10 p. 102.
Life's Vagaries— C. 6. March 19 1795— C. O. May 28 1799.
Like Master like Man (F. from Mbtake) ~ D. L. April 12 1768
— D. L. March 30 1773.
Like to Like, or a Match well made up— L. L F. Nor. 28 172S.
Linage. G.Oct. 21 1825.
LiUipuU-D. L. Dec 3 1756— D. L. Dec. 10 1817.
L. I. F. built by Davenant and opened in 1661.
L. I. F. (i. e. Little L. I. F.) opened by Betterton, arc— April SO
1695.
L. 1. F. built by G. Rich and opened by his son Dec 18 1714.
Linco's Trarels— D. L. April 6 1767— D. L. May 24 1797.
Lindor and Clara — see vol. 10 p. 199.
Lingua — see 5th vol. of Dodsley 1744.
Lionel and Clarissa^C. G. Feb. 25 1768— D. L. Feb. 8 1770-
— D. L. Jan. 8 1778— Hay. June 26 1781 — C. G. Gct.2
1783— C. G. May 13 1790 —D. L. Dec. 12 1807 — C 6.
May 3 1814— C. G. May 22 1829— Hay. July 21 1880.
Listen's Epilogue on an Ass — C. 6. June 9 1818— his Istapp^at
Hay. June 10 1805.
Litchfield Mrs.— her characters C. 6. 1805-1806.
Litigants — see vol 10 p. 154.
Litde French Lawyer— D. L. Oct. 26 1717— D. L. June SO
172a-a« I^iroe— D. L. Oct. 7, 9, 10, 1749— C. O. April «7
1778.
Little Freeholder— see toI. 10 p. 199.
Digitized by
Google
iNDBX. bcxi
Litde Hnnchback— C. 0. April 14 1789— C. 6. May 31 1615.
linle Offerings— C. 6. April 26 1828.
Litde Red Riding Hood— Bath April U 1620.
Live Lumber, or Unbnrted Dead— C. O. March 30 1796.
Liverpool Prise— C. G. Feb. 22 1779.
Livery Rake— Hay. Oct 15 1733— D. L. Jan. 8 1734.
Living in London — Hay. Ang. 5 1815.
Uewellyn Prince of Wales and the Dog Qelert— Bath Oct. 16
1818.
Lock and Key— C. 6. Feb. 2 1796— D. L. July 8 1814_D. L.
Oct. 23 1828.
Locrine^-see endof D.L. 1713-1714.
Lodgings for Single Grentlemen— Hay. June 15 1829.
Lodoiskap— D.L. June 9 1794— C. O.Oc^ 15 1816.
I^fty Projects-CO. April 22 1825.
London Apprentice— D. L. March 17 1755.
London Cnckolds— D. 6. 1682— Hay. Dec 27 1706 — L. I. F.
Dec. 11 1721— L. I. F. Nov. 12 1731— C. G. Jan. 1 1742—
D. L. Oct. 29 1748— as Farce C. G. April 10 1782.
London Hermit— Hay. June 29 1793 —Bath Nov. 19 1793 —
C. G. April 29 1794— D. L. May 7 1804— revived in 2 acts
at C. G. Dec. 7 1822.
London Merchant— D. L. June 22 1731— 6. F. Sep. 27 1731—
L. L F. May 22 1732— «. G. May 23 1740— D. L. Sep. 22
1749— D. L. Nov. 28 1796— see George Barnwell.
London Prodigal— see end of D. L. 1713-1714.
London Stars— C. G. April 7 1821.
Long Mrs. — ^her characters D. G. 1673.
Look at Home — Hay. Aug. 15 1812.
Look before you Leap — Hay. Aug. 22 1788 — C. G. March 31
1789.
Lord of the Manor— D. L. Dec. 27 1780— D. L. April 14 1789
— 4:L G. Oct. 24 1812— D. L. May 27 1823— Hay. Sep. 20
1823.
Lord Russel by Stratford— D. L. Aug. 20 1784.
Lord Russel by Hayley— Hay. Ang. 18 1784.
Lorenso— C. G. April 5 1791,
Um no Tini»— D. L. June 11 1813.
Lost and Found by D. L. C. Jan. 2 1811.
Lost Lady — see 10th voL of Doddey 1744.
Digitized by VjOOQ IC
\xX\i INDEX.
Lost Life— D. L. Nov. 13 182L
Lost Lorer— D L. 1696.
Lottery by Fielding— D. L.Jan. 1 1732— D. L. Dec 16 1745—
D. L. Sep. 10 1748 — D. L. Feb. 29 1772— D. L. Dec 10
1783.
Jx>ttery C. by Hay. 1728.
Lottery Ticket— D. L. Dec. 13 1826.
Lore a la-Mode— D.L. Dec 12 1759— C.G. Dec. 19 1760— CO.
April 13 1776— D. L. May 23 1794— C. G. Nov. 13 1800
—Bath May 28 1814— C. O. Jane 8 1814 — C. 6. Dec. 10
1816— D L. Nov. 3 1817.
Love a-la Mode by T. S.1663-see voL 10 p. 137.
Love among the Roses — Bath March 18 1825.
Love and a Bottle— D. L. 1699— D. L. July 22 1712 — L. L F.
Nov. 25 1724— C. G. March 30 1733.
Love and Dnty— L. I. F. Jan. 22 1722.
Love and Friendship — D. L. April 8 1746.
Jx>ve and Glory — D. L. March 28 1734.
Love and Gout— Hay. Aug. 23 1814— C. G. Jane 2 1815 — Hay.
Sep. 23 1824.
Love and Honour — L. I. F. 1662 — for the plot see voL 10 p. 81.
Love and Liberty— see vol. 10 p. 152.
Love and Madness — Hay. Sept. 21 1795.
I^ove and Money— Hay. Aug. 29 1795.
Love and Reason— C. G. May 22 1827.
Love and Revenge T^-D. G. 1675.
Love and Revenge Op. at Hay. 1729.
Love and the Tooth Ache— C. 6. Dec. 13 1816.
Love and War— C. G. March 15 1787.
Love and War by Meriton — see vol. 10 p. 134.
Love at a Ventare — see voL 2 p. 389.
Love at First Sight by Crawford— L. L F. March 25 1704.
Love at First Sight by King— D. L. Oct. 17 1763.
Love Betrayed— L. I. F. 1703.
Love Crowns the End— see vol. 10 p. 75.
Love finds the Way— C. G. Nov. 18 1777.
Love for Love — L. L F. 1695— acted by women at Hay. June
25 1705— D. L. Feb. 7 1708— D. L. Dec 3 1709— D. L.
April 13 1738— C. G. May 2 1739— D. L. Jan. 16 1754—
C. G. May 9 1758— DX. AprU 9 1760— D.U Dec 23 1769
Digitized by VjOOQ IC
INDEX. Ixxiii
-^C, G. May 8 l*??*— D. L Nov. 29 1776— Hay. Sept. 6
1780—1). L. Dec 11 1786— D. L. Oct. 15 1796 — D. L.
March 8 I80e--C. 6. Sep. 25 1812— D. L. March 1 1813
— C. 6. Oct. 13 1819— D. L. Oct. 20 1825.
Love for Money— T. R. 1691— D. L. May 21 1708— D. L. July
11 1718.
Love gives the Alarm — ^C. 6. Feb. 23 1804.
Love in a Camp— C. G. Feb. 17 1786— D. L. Feb. 15 1814.
Love in a Forest— D.L. Jan. 9 1723.
Love in a Maze — see vol. 1 p. 69.
Love in a Riddle — D. L. Jan. 7 1729.
Love in a Sack — L. L F. Jane 14 1716.
Love in a Veil— D. L. Jane 17 and July i22 1718— D.L. April 19
1784.
LoveiaaVillage— C.G.Dec 8 1762— D. L. April 3 1769—
Hay. Aug. 12 1777— C. G. Feb. 13 1786— C. G. Nov. 15
1797— D. L. May 8 1822— G. G. March 18 1826.
Love in a Wood— T. R. 1672— D. L. Aug. 15 1718.
Love in Humble Life— D. L. Feb. 14 1822.
Love in its Extasie— see voL 10 p. 122.
Love in Limbo— C. G. March 81 1815.
Love in Many Masks— D. L. March 8 1790.
Love in several Masques, by Fielding— D. L. Feb. 16 1728.
Love in the City— C. G. Feb. 21 1767.
Love in the Dark— T. R. 1675.
Love in the East— D. L. Feb. 25 1788.
Love in Wrinkles— D. L. Dec. 4 1828.
Love laughs at Locksmiths-Hay. July 25 1803— C. G. Dec. 6
1803— Bath Nov. 17 1803— Hay. July 3 1823.
Love, Jaw, and Physio-C* G. Nov. 20 1812— D. L. Feb. 26
1823.
Love Letters — Hay. June 24 182?.
Love makes a Man— D. L. 1701— L. I. F. April 30 1715— D.L.
Jan. 3 1738— C. G. April 7 1738— C. G. April 19 1776—
D. L. May 10 1784— C. G. Dec. 10 1790— D. L. C. Oct. 4
1792— Hay. July 10 1797— C. G. Feb. 5 1806— D. L. Nov.
13 1818— C. G. Nov. 6 1819— D. L. Oct. 30 1828.
Loves makes an Irishman — Bath May 3 1825.
Love Match— C. G. March 13 1762.
Lover— D. L. Jan. 20 1731.
Lover's Luck— L. J. F. 1696.
/
Digitized by VjOOQ IC
body iHD£X.
Lover's Melancholy— D. L. April 28 174&
Lorer^s Open^D. L. May 14 1729.
Loren' Progrets— see toL 5 of BeamnoBt and Fletcher, 1778.
Loyen* Quarrels (from Mistake)— C. 6. Feb. 11 1790— C. G.
April 22 1796— D. L. May 11 1801— C. 6. Nov. 27 1802.
Lovers' Resolations — D. L. March 2 1802.
Lovers' Vows— C. G. Oct. 11 1798— D. L. Nov. 28 1802— Hay.
May 20 1803— by C. O. C. May 10 1809— D. L. Sept. 26
1815— D. L. Nov. 28 1827.
Love's a Jest— L. I. F. 1686— D. L. Aug. 31 1711.
Love's a Lottery and a Woman the Priie— L. I. F. 1699.
Love's characters— D. L. 1773-1774.
Love's Contrivance— D. L. Jnne4 1703— L.LF. Joly 14 1724.
Love's Cmelty— T. R. 1682.
Ijove's Core— see 7th vol. of Beaumont and Fletcher 1778.
Love's Dream— Bath Feb. 2 1822.
Love's Frailties— G. 6. Feb. 5 1794.
Love-sick Court— see voL 10 p. 41.
Love-sick King— T. R. 1680.
Love's Labour Lost — see StndenU vol. 10 p. 180.
Love's Kingdom— L. I. F. 1664— for the plot, see voL 10 p. 248.
Love's last Shift— D. L. 1696 — Hay. Oct. 18 1707 — L. L F.
Oct. 12 1715— L. L F. Oct. 23 1725— D.L. Nov. 21 17S7
r. b.— D. L. Dec 9 1749— D. L. Dec 18 1762— C. 6. Oct
29 1764— C. 6. Feb. 14 1763.
Love's Mistress— see Psyche D. G. 1674.
Love's Metamorphoses — D. L. April 15 1776 (published as
Love's Vagaries.)
Love's Pilgrimage-Jee 7th vol. of Beaumont and Fletdier 1778.
Love's Revenge— see end of Hay. 1772.
Love's Revenge — Pastoral — see vol. 10 p. 166.
Love's Riddle— see vol. 10 p. 61.
Love's Sacrifice — see Ford's works 1811.
Love's Victim— L. I. F. 1701.
Love's Victory— C. 6. Nov. 16 1825.
Love the Cause and Cure of Grief— D. L. Dec. 19 1748.
Love the Leveller— D. L. Jan. 26 1704.
Love Triumphant— T. R. 1693.
Love will find out the Way— eee 12th vol. of Dodaley 1744.
Love without Interest— -D. L. 1699.
Digitized by VjOOQ IC
INDEX. IXXV
Loying Enemlefl — D. 6. 1680.
Low Life abore Stairs— see toL 10 p. 179.
Loyal Brother— T. R. 1682.
Loyal Oeaeral-D. 6. 1680.
fjoyal LoTers — see rol. 10 p. 123.
Loyal SabjecU-D. L. July 25 1705.
Loyalty — see yoI. 10 p. 231.
Lncios Janias Bratas by Lee — D. 6* 1681 •
Lvciiis Jnniiu Bratus by Downman — see D. L. Dec 3 1818.
Lncios King of Britain— D. L. May 11 1717.
Lneky Chance— T. R. 1687— L. I. P. July 24 1718.
Lucky DiscoYery, or Tanner of York— C. G. April 24 1788.
Lucky Escape C. by Linnecar—see toL 10 p. 108.
Lucky Escape, by Mrs. Robinson — D. L. April 80 1778.
Lndcy Prodigal, or Wit at a Pinch— L. L F. Oct. 24 1715.
Luke the Labonrer— Bath March 24 1827.
Lonatiok— see toL 2 p. 834.
Lnst's Dominion — see Abdelaaer D. 6. 1677.
Lusty JuTentus— 4ee vol. 1st of Hawkins 1773.
Lyar— C. 6. Jan. 12 1762— D. L. April 15 1768 — C. 6. April
22 1775— C. G. Nov. 16 1787.
Lyceum was opened as English Opera House — June 26 1809.
Lycidas— C. G. Nov. 4 1767.
Lying Lover— D. L. Dec 2 1708— D. L. April 4 1746.
Lying made Easy — Bath March 15 1828.
Lying Valet— G. F. Nov. 80 1741— C. G. Oct. 11 1743— C. G.
May 2 1758— D. L. S^. 19 1782 — C. G. Nov. 30 1784—
D L. Oct. 2 1788.
£500— D. L. Aug. 28 1821.
£8 10s. Id— D. L. May 12 1823.
£100 Note— C. O. Feb. 7 1827.
M
Macaroni — Hay. Sep. -* 1773.
Macanley Mis»— see Bath April 22 1825.
Macbeth, altered by Davenant— D. G. 1672— Hay. Dec. 27 1707
— D. L. Oct. 20 1711— D. L. Dec 31 1717— L. L F. fiepi.
30 1723— D. L. Jan. 31 1738— C. G. April 14 1738.
Macbeth, as written by Shakspeare — D. L. Jan. 7 1744 — C. G.
June 27 1746— D. L. Nov. 7 1746— D. L. March 19 1748
— & G. Nov. 10 1754— D. L. April 24 1768— C G. Jan
Digitized by VjOOQ IC
Ixxvi INDEX.
20 1768— D. L. Jan. 4 1770-^. G. Oct. 23 1973 first time
with Scotch dresses— Hay. Sep. 7 1778— D.L. Dec 6 1780
— D. L. Feb. 2 1785— C. G. Nov. 16 1787— D. L. April
21 1794~C. G. Dec. 6 1800— Bath April 12 1803— C. €•
Nov. 28 1803— D. L. Nov. 5 1814— C. G. Juoe 5 1817—
Bath Feb. 3 1823.
Macheath in the Shades— C. G. March 11 1735.
Macklin— ^or his first performance see L. I. F. Dec 4 1730~he
is engaged at D. L. Oct. 31 1733— kills HaDarn D. L. Blay
10 1735— quarrels with Garrick D. L. 1743-1744— opens
Hay. 1744 — ^retoms to D. L. Dec. 19 1744 — leaves the stage
and opens a tavern D. L. Dec. 20 1753^retnms to D. L.
Dec 12 1759— for his wish to act Tragedy and prosecution
of the rioters, see end of C. G. 1773-1774— for his charac-
ters see C. G. 1788-1789.
Macklin Miss— her characters — C. G. 1776-1777.
Macklin Mrs.— her characters— D. L. 1758-1759.
Macklin's Widow has a bt. at C G. June 17 1805.
Madaren—see vol. 9 p. 25.
Macready's 1st app. at Bath Dec. 29 1814— at C. G. Sept- 16
1816.
Madam Fickle— D. G. 1676 — L. I. F. July 24 1704 no chamcters
—D.L. Sept. 29 1711.
Mad Captain— 6. F. March 5 1733.
Mad Couple well Matched— see Debauchee D. G. 1677.
Mad-house-L. I. F. April 22 1737.
Mad Lover — see 3d vol. of Beaumont and Fletcher 1778.
Madrigal and Truletta— C. G. July 6 1758.
Mad World my Masters — see 5th vol. of Dodsley 1744.
Maggot-Ballad Farce— L. L F. AprU 18 1732.
Magic Banner— Hay. June 22 1796.
Magic Bride— D. L. C. Dec. 26 1810.
Magic Picture— C. G. Nov. 8 1783.
Magician no Conjuror — C. G. Feb. 2 1792.
Magnetic Lady — see 6th vol. of Ben Jonson 1815-1810.
Magpie, or the Maid ?— C. G. Sept. 15 1815.
Magpie, or the Maid of Palaiseau— D. L. Sep. 12 1815.
Maid and the Magpye — see vol. 8 p. 516.
Mahmoud, or Prince of Persia— D. L. April 30 1796.
Mahomet— D. L. April 25 1744— D. L. Nov. 25 1765— C. G.
Dec. 8 1767— D. L. April 19 1776— D. L. Nov. 11 1778
_C. G. April 4 1786— D. L. April 27 1795— C. 6 Oct. IS
1796^Bath AprU 81817.
Digitized by VjOOQ IC
INDEX. Ixxvii
Mudenhead well Lost— «ee vol. 9 p. 594.
Maiden Whim— D.L. April 24 1756.
Maid in the Mill— D. G. 1682— D. L. March 23 1710.
Maid Marian— C. 6. Dec. 3 1822.
Maid of Bath-Hay, June 26 1771— C. 6. May 11 1787.
Maid of Bristol— Hay. Aug. 24 1803.
Maid of Honour— D. L. Jan. 27 1785.
Maid of Jndah— C. G. March 7 1829.
Mud of Kent— D. L. May 17 1773.
Maid of Marienburg — see vol. 10 p. 206.
Maid of Normandy — see vol. 10 p. 201.
Maid of the Mill— C. G. Jan. 31 1766— D. L. Sept. 27 1798—
C. G. June 19 1810— in 2 acto C. G. Oct. 20 1797.
Mud of the Oaks— D. L. Nov. 5 1774— as F. D. L. Jan. 21
1782— Hay. Aug. 15 1782— C. G. April 25 1783— C. 6.
March 28 1789_C. G. April 20 1796— D. L. May 28 1804.
Maid or Wife— D. L. Nov. 5 1821.
Maids and Bachelors — C. G. June 6 1806.
Maid's Last Prayer— T. R. 1692.
Maid's Revenge— see vol. 9 p. 551,
Maid's the Mistress— D. L. June 5 1708 — L. I. F. March 21
1737.
Maid's Tragedy— T. R. Dec. 7 1666— for the plot see T. R.
1685i— D. L. Feb. 3 1704— Hay. Nov. 2 1706— Hay. April
13 1710— D. L. April 16 1716— D. L* Dec. 18 1725—
L. T. F. Nov. 8 1729— C. G. Dec. 6 1744.
Mail Coach Adventures, by Mathews— Hay. Sep. 5 1814.
Mail Coach Passengers— D. L. Feb. 13 1816.
Majesty Misled — see vol. 10 p. 187.
Malcolm — see vol. 10 p. 192.
Malcontent — see 4th vol. of Dodsley 1744.
Male Coquette (originally Modem Fine Gentleman) — D. L.
March 24 1757— C. G. Jan. 21 1765— D. L. Aprtt 23 1773.
MalU-T. R. 1674.
MaUet— see D. L. Jan. 19 1763.
Malvina— D. L. Jan. 28 1826.
Management by Reynolds — C. G. Oct. 31 1799.
Management by Lunn — Hay. Sep. 29 1828.
Manager an Actor in Spite of Himself — see C. G. May 6 1785.
Manager in Distress — Hay. May 30 1780 — D. L. C. May 25
1809— Hay. Sep. 28 1812— C. G. Feb. 28 1820— C. G. June
6 1826.
Digitized by VjOOQ IC
IzXViii INDEX.
Blan and Wife by Colauni— C. 6. Oct. 7 1769 — C. G. Dee. 20
1777— Hay. June 1 1778.
MaD and Wife by AiimU— D. L. Jan. 5 1809 — D. L. June 18
1824.
Manfred— eee Lord Byron 1820-1821.
Mangora Kui£^ of the Timbiisiaas— L. I. F. Dec 14 1717.
Man bis own Master— D. L. Jue 12 and Oct. 1 1816.
Maniac, or Swiss llanditti by D. L. C Maicb 13 1810.
Man in the Moon— D. L. Dec 8 1817.
Man Milliner— C. G.Jan. 27 1787.
Mancenrring — Hay. July 1 1829.
Man of Business— C. G. Jan. 31 1774.
Man of Enterprise— see toL 10 p. 198.
Afaa of Honour— «eee toL 10 p. 195.
Man of Newmarket— T. R. 1678.
Man of QnaUty— C. 6. April 27 1773— D. L. March 15 1774—
Hay. Ang. 6 1784.
Man of Reason— C. G. Feb. 9 1776.
Man of Taste» or Goardians — D. L. March 6 1735 — as Faroe
D. L. March 10 1752.
Man of Ten Thoasand-D. L. Jan. 28 1796.
Man of the Mill— see toL 10 p. 182.
Bfan of the Mode— D. G. 1676— Hay. Not. 9 1706— D. L. April
4 1715— D. L. March 21 1738— C. G. Nov. 10 1739— C 6.
Feb. 6 1746— D. L. Noy. 26 1753— €. G. March 15 1766.
Man of the World— C. G. May 10 1781— C. G. May 16 1797—
C. G.April 10 1802— C. G. Dec. 6 181 1— C. G. Joly 6 1816
— D. L. March 18 1822— Badi Feb. 8 1823— C. G. Dec 5
1823.
Man's Bewitched— Hay. Dec 12 1709— G. F. April 28 1730.
Man's the Master — JL I. F. March 26 1668 — L. I. F. Jnly 15
1726— for the plot see C. G. Noy. 3 1775.
Mmioel— D. L. March 8 1817.
Marcelia— T. R. 1669.
Marcella-D. L. Noy. 7 1789— C. G. Nov. 10 1789.
Marcos Bmtos— see vol. 3 p. 90.
Mardyn Mrs^-D. L. Sep. 26 1815— Bath Feb. 16 1816.
Marforio— C. G. April 10 1736.
Margaret of Anjon — D. L. March 11 1777 — C. G. March 18
1793.
Margery, or a Worse Plague than the Diigon«-C. G. Dec 9
1738.
Digitized by VjOOQ IC
INDEX/ Ijodx
Mariamne— L. I. F. Feb. 22 172S_C. G. April 13 1733— C. G.
March 11 1745— C.G. Jan. 27 1758— D. L. March 16 1765
— D. L. March 20 1770— C. G. March 14 1774— see Bath
Dec 5 1816.
Marian— C. G. May 26 1788.
Marina— C. G. Aug. 1 1788.
Mariners— D. L. C. May 10 1703.
Marino Faliero, Doge of Venioe — D. L. April 26 1821 — Bath
May 7 1821.
Marplot-D. L. Dec. 30 1710.
Marplot in Lisbon— D. L. March 20 1755— C. G. April 29 1762
— D. L. April 6 1772.
Marquis deCarabas — C. G. March SO 1818.
Marriage a-Ia-Mode— T. R. 1672— D. L. Feb. 1 1703.
Marriage a-la-Mode (new Farce) — D. L. March 24 1760.
Marriage a-la^Mode, or Conjugal Douceurs — D. L. April 22
1767.
Marriage Contract— see 4th vol. of Brooke's Works 1778.
Marriage-Hater Matched— T. R. 1692— D. L. March 8 1708.
Marriage Night— L. I. F. March 21 1667.
Marriage of ligaro — C. G. March 6 1819 — D. L. March 13
1823.
Marriage Promise — D. L. April 16 1803.
Married and Single— Hay. July 16 1824.
Married Beau— T. R. 1694.
Married Coquet — see toI. 10 p. 171.
Married Libertine— C. G. Jan. 28 1761.
Married Man— Hay. July 15 1789.
Married Philosopher— L. L F. March 25 1732.
Married Unmarried — Hay. Sept. 1 1796.
Marry or do Worse — L. I. F. Not. 1 1703 — D. L. Mardi 30
1747.
Marshall Mrs.^— her characters— see Union 1682.
Martyrdom of St. Ignatius — see vol. 10 p. 188.
Martyred Soldier — see vol. 10 p. 110.
Martyr Mrs. and Mrs. Pope — see C. G. May 5 1786.
Martyr of Antioch— see voL 10 p. 239.
Martyr by Miss Baillie — see vol. 8 p. 346.
Mary Queen of Scots — D. L. March 20 1789 — C. G. Jan. 13
1804.
Digitized by VjOOQ IC
IXXX INDEX.
Mary Queen of Scots —not acted^ — see vol. 10 p. 201.
Mary Stoart— C. O. Dec 14 and 29 1819.
Mary Stuart (from the Abbot)— Bath Jan. 3 1827.
Masaniello by Soane— D. L. Feb. 17 1825.
Masaniello, by Milner— see D. L. Feb. 17 1825.
MasanieUo, or the Dumb Girl of Fortici — D. L. May 4 1829.
Mask'd Friend (altered from Dnplicity)— C. G. May 6 1796—
C. G. May 10 1803.
Masquerade by C.Johnson — D* L. Jan. 16 1719.
Masquerade, or an Eyening's Intrigue— L. I. F. May 16 1717.
Massacre of Paris, by Lee — T. R. 1690^C. G. Oct. 31 and
Nov. 1 1745.
Massacre of Paris, by Marloe— see toL 9 p. 576.
Massjniello— D. L. 1699— L. I.F. July 31 1724.
Massinger — ^for Colman's remarks, see end of 1778-1779 — for the
plays, see 1804-1805.
Master Anthony— D. G. 1671.
Masters of the Revels— see end of D. L. 1719-1720.
Master's Rival— D. L. Feb. 12 1829— C. G. May 6 1829.
Match at Midnight — see 6th vol. of Dodsley 1744.
Match-Breaking— Hay. Sep. 20 1821.
Match in Newgate— (see Revenge D. G. 1680)— D. L. Oct 29
1739.
Match-Making, by Kenney — Hay. Aug. 25 1821.
Match-Making, attributed to Mrs. C. Kemble— C. 6. May 24
1808.
Match me in London— see vol. 10 p. 7.
Mathews made his 1st app. at Hay. May 16 1803.
Matilda by Franklin- D. L. Jan. 21 1775— C^ G. March 7 1785.
Matilda by Delap— see vol. 10 p. 225.
Matrimony— D. L. Nov. 20 1804— C. G. May 13 1823.
Matrimony (from Sleep-Walker)— C. G. April 27 1798.
Mattocks Mrs ^her characters and last bt. C. G. 1807<]808.
Mausoleum — see Hayley at end of 1783-1784.
May Day by Chapman— see vol. 4 of Old Phys 1814-1815.
May Day, or Little Gipsy— D. L. Oct. 28 1775— C. G. May 1
1793— C. G. May 1 1798.
May Day, or Merry MHkmaid— D.L. May 2 1746.
Mayor of Garratt— Hay. July 1763— D. L. Nov. 30 1768—
D. L. April 2 1771~C. G. Jan. 15 1778— Hay. June 29
Digitized by VjOOQ IC
INDEX. Ixixi
1780— D. L. May 1 1788— C. 6. April 21 178d— Hay.
Jane 22 1790—0. L. April 5 1791— C. G. Oct. 7 1791^
C. G. Jane 25 1817— G. G. April 23 1828.
Mayor of Qainboroogh — Hay. April 29 1710 — ^for the plot see
nth vol. of Dodsley ]744>.
Measare for Measure, by Shakspeare — L. 1. F. Dec. 8 1720-*
D. L. Jan. 26 1738— C. G. Nov. 25 1742— D. L. April 11
1746— C. G. Dec. 17 1746— D. L. Feb. 22 1756— C. G.
Feb. 12 1770— D. L. March 18 1775— C. G. Oct. 11 1780
— D. L. Nov. 3 1783— D. L. Dec. 80 1794-C. G. Nov. 21
1803— C. G. Feb. 8 1816— D. L. May 1 1824.
Measure for Measare, by Gildon— L. L F. 1700.
Medflsai by C. Johnson— D. L. Dec. 11 1730.
Medboarne's last app. — see D. G. 1678.
Medea, by Glover— D. L. March 24 1767— C. G. March 17 1768
— D.L. March U 1776— C. G. March 26 1792.
Meeting of the Company (Prelude)— D. L. Sept. 17 1774,
Meggett— Hay. July 19 1815.
Meg Mamoch— Bath March 10 1821.
MeHte— see vol. 10 p. 191.
Mellon Miss— see end of D. L. 1814-1815.
Merchant 4>f Bruges — D. L. Dec. 14 1815.
Merchant of Venice— D. L. Feb. 14 1741— C. G. March 13 1744
— C. G. Oct. 30 1764— C. O- May 3 1759— D. L. March 24
1768— C. G. March 27 1770— D. L. Dec 29 1775— C. G.
Aprd 13 1776— Hay. June 11 1777— D. L. Oct. 14 1777
_C. G. May 12 1780— Hay. Aug. 24 1780— D. L.Jan. 22
1784— D. L. April 6 1786— Hay. June 22 1790— C. G.
May 12 1796— Hay. Aug. 28 1797— C. G. Nov. 10 1800—
G. G. Nov. 19 1803— Hay. Aug. 16 1809— D. L. Oct. 5
1813 and Jan. 26 1814— C. G. May 13 1823.-C. G. Oct.
15 1827.
Merchant of Venice altered by Valpy — see vol. 10 p. 223.
Merchant's Wedding— C. O. Feb. 5 1828.
Merlin, or the Devil at Stone- Henge—D. L. Dec. 14 1734.
Mermaid— C. G. March 26 1792.
Merope, by JeflEreys— L. I. F. Feb. 27 1731.
Merope, by HiU— D. L. April 15 1749— D. L. April 19 1770
— D. L. Jan. 13 1773— C. G. Jan. 17 1777— D. L. Jan.
22 1777— C. G. Jan. 15 1787— C. G. Nov. 29 1797—
D. L. March 1 1806— C. G. Feb. 22 1806— Bath June 1
1815.
Merry Cobler— D. L. May 6 1735.
Merry Counterfeit— C. G. March 29 1762— C. G. April 29 1771.
Digitized by VjOOQ IC
bcXXii INDEX.
Merry Deyil of Edmonton— T. IL 1682.
Merry Masqneradert, or Hnmorons Cnokold— -Hay 1730.
Merry Midnigbt Mistake — see vol. 10 p. 182.
Merry M« — her characters — C. G. 1791.1792.
Merry Wives of Broad Street— D. L. June 9 1713.
Merry Wives of Windsor— T. R« Aug. 15 1667— see L. I. F.
Feb. 1704— L. 1. F. Oct. 22 1720— D. L. Dec 6 17M—
D. L. Nov. 29 1743— C. G. April 22 1758— Hay. Sept. S
1777— D. L. Feb. 24 1778— C. G. Nov.13 1779— Hay. Ang.
24 1781— D. L. Jan. 10 1784v— C. 6. Nov. 29 1786— D. L.
May 21 1788— C. 6. March 14 1796— C. G. April 25 1004
— C. G. Jan. 16 1811.
Merry Wives of Windsor as Opera— D. L. Feb. 20 l824^-«
Hay. Oct. 12, 1824.
Messallina— see vol. 10 p. 112.
Metamorphosis, or Old Lover — L. I. F. Oct. 2 1704.
Metamorphosis (C. Op. in 3 acts) — D. L. Dec 5 1783.
Metamorphoses — Hay* Aug. 26 1775.
Methodist—see vol. 10 p. 180.
^Fichaelmas Term — see vol. 10 p. 13.
Microcosmns — see 5th voL of Dodsley 1744.
Midas, by 0'Hara.-C. G. Feb. 22 1764— Hay. Aog. 15 1781—
C. 6. March 19 1785— C. G. May 6 1791— C. G. Nov. 10
1794— Bath May 15 1798— D. L. Oct. 25 1802— C. G.
Sept. 17 1812— D. L. Jane 15 1815— Hay. Jnly 23 1825.
Midas, by Lyiy— see 1st vol. of Old Plays 1814.1815.
Middle Dish, or Irishman in Turkey— D. L. April 16 1804
Middleton*s characters— D. L. 1798-1799.
Midnight Hour— C. G. May 22 1787— C. G. Oct 5 1795— D. L.
May 9 1803— Hay. Sep. 1 1809— D. L. Nov. 12 1816.
Midnight Wanderers— C. G. Feb. 25 1793.
Midsummer Night*s Dream with songs — D. L. Nov. 23 1763.
Midsummer Night's Dream, altered by Reynolds^C. G. Jan. 17
1816.
MUesian— D.L. March 20 1777.
Miller and hb Men— C. O. Oct. 21 1813.
MUler of Mansfield— D. L. Feb. 1 1737— D. L June I 1770—
C. G. Sept. 18 1769— Hay. Aug. 26 1788 D. L. Nov. 29
1788-^acted by C. G C. May 1 1809— D. L. April 26 1820.
MiUer's characters— D. L. 1737-1738.
Miller's Maid— Hay. Aug. 25 1804.
Miller's Maid— Mdo-drame— Bath Nov. 21 1821.
Digitized by VjOOQ IC
INDEX. buuiii
Milliners — Hay. June 28 1828.
Mills John -his characters— D, L. 1736-1737.
Milla WiUiam^see D. L. Feb. 22 1750.
Milton's Grandanghter— has abt at D. L. April 5 1750.
Milward'scharacter»— D. L. 1741-1742.
Mine-^see D. L. March 19 1774.
Miniature Pietore— D. L. May 24 1780.
Minor— Hay. 1760— D. L. Nov. 22 1760— C. G. Nov. 24 1760
— D. L. April 30 1770— D. L. May 1 1773— C. 6. Jan. 19
1778— Hay. Sep. 8 1780— Hay. July 25 1786— D. L. Jan.
5 1788— D. L. May 27 1797— D. L. May 2 1808.
Mirandola— C. G. Jan. 9 1821.
Mirror, or Harlequin Every where— C. G. Nov. 30 1779.
Mirrour-^see vol. 10 p. 178.
Mirsa — see vol. 10 p. 119.
Miser, by ShadweU— T. R. 1671— D. L. June 5 1704.
Miser, by Fielding— D. L. Feb. 17 1733-G.SF. March 16 1741
— D. L. Jan. 25 1749— C.G. Sep. 24 1750— D. L. Nov.
11 1771— C. G. Oct. 1 1777— D.L. Oct. 7 1779-C. G.
April 30 1787.
Miaer, in 3 acts— C. G. March 24 1789— Hay. May 26 1789—
]>. L. May 9 1799-C. G. Oct. 14 1818.
Miseries of Human Life — C. G. May 19 1807.
Miseries of Inforeed Marriage — see Reed 1774.
Misfortunes of Arthur— see Old PUys 1828.
Miss— applied only to young girls> or kept mistresses, till about
1727_8ee Don Quixote U.L. 1696 and D.L.C. Feb. 3 1810.
Miss in her Teens— C. G. Jan. 17 1747— D. L. Oct. 24 1747—
C. G. Oct. 23 1754— D.L. March 6 1760— C.G. Nov. 12
1762— D. L. AprU 16 1773— C. G. Dec. 7 1776— C. G
Dec 15 1787.
Mississippi— L. I. F. May 4 1720.
Mission from Rome— see vol. 10 p. 171.
Miss Lucy in Town— D. L. May 5 1742.
Mistake— Hay. Dec 27 1706— D. L. Feb. 11 1710— L. 1. F.
Oct. 24 1726— C. G. March 3 1762—0. L. March IS 1765
C.G. Feb. 6 1766— C. G. Oct. 12 1780.
Mistaken Beauty, or Lyar— «ee Vere Street 1662.
Mistaken Husband— T. R. 1676.
Mistake of a Minute— D. L. April 23 1787.
Mistakes, by Harri»— T. R. 1690.
Digitized by VjOOQ IC
IxXXiv IMDfiX.
Mistakes, by Lord Cornbnry— see toL 4 p. 44.
Mister H . D. L. Dec. 10 1806.
Mr. Taste— see toI. 10 p. 157.
Mr. Tibbs— D. L. March 8 1821.
Mistress Smith— Hay. Jane 18 1823.
Mrs. Wiggms— Hay. May 27 1803— Hay. April 20 1826.
Mithridates— T. R. 1678— D. L. Feb. 14 1708— D. L. March ^
1721— C.G- Not. 9 1738— eee end of D. L. 1796-1797.
Mock Countess— D. L. April 80 1733— C. G. Noy. 11 1734.
Mock Doctor— D. L. Sept. 8 1732— D. L. Sept. 25 1759— C. &
Dec. 4 1784— Hay. Dec. 10 1793— D. L. Not. 25 1799.
Mock Dndlist— T. R. 1675.
Mock Lawyer— C. G. April 27 1733— C. G. AprU 5 1738.
Mock Marriage— D. L. 1696.
Mock Orators— D. L. April 10 1756.
Mock Tempest-T. R. 1674.
Mock Thyestes — see toI. 10 p. 143.
Mode— «ee toI. 10 p. 195.
Modem Antiques— C. G. March 14 1791 — Hay. Aug. 2 1806.
Modem Break£Ettt-^Hay. Aug. 11 1790.
Modem Comedy— see toI. 10 p. 200.
Modem Husband— D. L. Feb. 21 1732.
Modem Muses, or 16 and 63 — see toI. 10 p. 232.
Modem Prophets — D. L.May3 1709.
Modem l¥ife, altered from Distressed Wife — C. G. April 27
1771.
Modem Wife, or Virgin her own RiTal— sec Tol. 4 p. 167.
Modish Couple— D. L. Jan. 10 1732.
Modish Husband— D. L. 1702.
Modish Wife— Hay. Sep. 18 1773.
Mogul Tale— Hay. July 6 1784.
Mohocks — see toI. 10 p. 153.
Mohun's characters — see Union 1682.
Momus turned Fabulist— L. L F. Dec. 3 1729 — C G. AprO 28
1737.
Money at a Pinch— C. G. April 25 1793.
Money is an Ass — see toI. 10 p. 118.
Money the Mistresa— L. I. F. Feb. 19 1726.
Monody on Garrick— D. L. March 2 1779.
Digitized by VjOOQ IC
INDEX IXXXT
Monody on Sheridan— D. L. Sept. 7 1816.
Monsieur D'OUve— see yoL 3of Old Plays 1814-1815.
Monsieur Thomas— ^ee Trick for Trick T. R. 1678.
Monsieur Tonson— D. L. Sep. 20 1821.
Montalto— D. L. Jan. 8 1821.
Montezuma by Brooke—see lus Works 1778.
Montoniy or the Phantom— C. 6. May 3 1820.
Montrose, or Children of the Mist— C. 6. Feb. 14 1822 — Bath
April 17 1822.
Moody's characters — D. L. 1795-1796.
Moral Quack — see vol. 10 p. 179.
Mordecai's Beard— D. L. April 20 1790.
More Blunders than One— C. 6. Oct. 8 1828.
More Dissemblers besides Women — see 4th toI. of Old Plays
1814-1815.
More Miss— for her Sacred Dramas see 1781-1782.
More Ways than One— C 6. Dec. 6 1783— C. 6. May 19 1789
—Bath March 17 1812.
Morning, Noon, and Night— ^Uay. Sep. 9 1822.
Morning Post and Morning Herald — ^D. L. C. May 31 1811.
Morning Ramble— D. G. 1673.
Moscow— -see vol. 10 p. 234.
Mossop— see Irish Stage.
Mother and Son— D. L. April 24 1821.
Mother Bombie— see 1st vol. of Old Pkys 1814-1815.
Mother in Law— Hay. Feb. 12 1734.
Mountain Chief— D. L. April 30 18ia
Mountaineers— Hay. Aug. 3 1793— D. L. Nov. 24 1794— C. 6.
Oct. 6 1796— Hay. May 19 1803 — C. G. March 24 1606—
—D.L.Junes 1822.
Mountfort Mrs. — see Mrs. Verbruggen.
Mountfort's death and characters— T. R. 1692.
Mountfort Mrs. Susanna — ^her characters L. L F. 1718-1719.
Mourning Bride— L. L F. 1697— D. L. March 25 1708 -- D. L.
Jan. 18 1710 — D. L. Oct. 5 1728 — C. G. May 17 1734—
D. L. Feb. 24 1737 — C. .G. April 3 1750 — D. L. Dec 3
1750— C. G. Feb. 20 1755— D.L. Nov. 1 1762— D. L. May
1 1775^0. G. Dec 18 1776 — C. G. May 14 1781 — D. L.
March 18 1783— G. G. March 10 1788— C. G. Feb. 20 1804.
Mouth of the Nile— C. G. Noy. 6 1798.
M. P.-D. L. C. Sep. 80 181 1.
Digitized by VjOOQ IC
bcZXvi INDEX.
Mucedonifl — see toI. 10 p. 89.
Much ado— L. L F. Feb. 9 1721— C. G. May 25 1739— a 6.
March 13 1746— D. L. Nov. 14 1748— C. G. Not. 8 1774
— D. L. Nov. 6 1775— D. L. Feb. 10 1778— a G. Dec. 31
1779— C. G.Nov. 2 1785— C. G- AprU 11 1787— Hay.
May 25 1787— D. L. April 30 1788— C. 6. Sept. 18 1793
— C. G. Oct. 6 1797— C G. Nov. 2 1803— C. G. Nov. 28
1817.
Mulberry Garden— T. R. 1668.
Muleaflses the Turk— see vol. 10 p. 93.
Monden's characters — D. L. 1823-1824.
Murdered Guest— D. L. Dec 27 1826.
Murphy published a corrected edition of his works in 1786.
Muse of Newmarket— see voL 10 p. 146.
Muse's Looking Glass— C. G. March 14 1748 and March 9 1749.
Muses in Mourning— see veL 8 p. 332.
Musical Lady ~ D. L. March 6 1762 — C. G. April 24 1765 —
C. G. May 10 1773— G. G. Sep. 24 1784.
Music Mad-Hay. Aug. 27 1807— G. G. June 14 1815.
Mustapha— (not acted) — see vol. 10 p. 232.
Mustapha by JLord Orrery—see L. T. F. 1665.
Mustapha by Mallet-^D. L. Feb. 13 1739.
Mustapha by Lord Brooke— see 2d vol. of Dodsley 1774.
Mutius Scadvola — see vol. 10 p. 222.
My Aunt— Bath Oct. 21 1815.
My Best Friend— D. L. Jan. 23 1827.
My Country Cousin— D. L. May 29 1827.
My Grandmother— Hay. Dec. 16 1793— Hay. July 14 1823.
My Landlady's Gown— Hay. Aug. 10 1816.
My Night Gown and Slipper»— D. L. April 28 1797.
My own Man— C. G. June 16 1824.
Myrtillo— see vol. 10 p. 257.
My Spouse and I— D. L. Dec. 7 1816.
Mysteries of the Casde— C. G. Jan. 31 1795— Bath Feb. 23 1815.
Mysterious Bride— D* L. June 1 1808.
Mysterious Husband — C. G* Jan. 28 1783 ~ reduced to 4 ads
— C. G. Jan. 4 1796— C. G. Jan. 4 1806.
Mysterious Marriage — see voL 10 p. 209.
Mysterious Mother — see vol. 10 p. 185.
Mystification— D. L. April 7 1821.
Digitized by VjOOQ IC
INDEX. Isxzvii
My Uncle Gabriel— D. L. Dec. 10 1824.
My Wife I What Wife? C. by Bamtfr— Hay . July 26 1815.
My Wife I What Wife 7 (Farce)— D* L. April 2 1829.
N.
Nabob— Hay. Jane 20 1772— Hay. July 23 1781— D. L. March
28 1786.
Ni4>oleon— Bath March 30 1830.
Narootic'-see vol. 10 p. 200.
Narensky- D. L. Jan. 11 1814.
Natalia and Menaikof— see vol. 10 p. 206.
National Goard— D. L. Feb. 4 1830.
National Prejudice F.— D. L. April 6 1768.
National Prejudice C— G. O. May 10 1791.
Native Land— C. G. Feb. 10 1824—0. G. Jan. 12 1828.
Natural Faults— aee D. L. May 3 1799.
Natural Son — D. L. Dec. 22 1784 — in 4 acta D. L. June 10
1794
Nature will PrevaiL.Hay. June 10 1778— D. L. May 7 1788.
Naufragium Jocniare — aee vol. 10 p. 68.
Naval Pillar— C. G. Oct 7 1799.
Neale— eeeend of D. L. 1749-1750.
Neck or Nothing— D. L. Nor. 18 1766— D. L. Feb. 15 1774—
— D. L. Feb. 10 1784.
Necromancer, or Dr. Faustus— L. 1. F. Deo. 20 1724.
Neglected Virtue— D. L. 1696.
Nelson'g Glory— C. 6. Nor. 7 1805.
Nero— T. R. 1675.
Nest of Plays-C. G. Jan. 25 1788.
Nedey Abbey— G. G. April 10 1794— D. L. Nor. 28 1812.
New Academy— see vol 10 p. 43.
New Brooms— D L. Sep. 21 1776.
Newcastie Duchess of — see toL 1. p. 80.
New Cnstom — see 1st voL of Dodsley 1744.
New Hay at the Old Market— Hay. Joae 9 1786.
New Hippocrates — ^D. L. April 1 1761.
New Inn— see vol. 6 of Ben Jonson 1815-1810.
Newmarket— see Humours of the Tnrf*
New Peerage~D. L. Not. 10 1787.
New Rehearsal— see vol. 10 p. 154.
Digitized by VjOOQ IC
Ixxxviii INDEX.
New Spain— Hay. July 16 1790.
New way to cheat the Deyil — see toL 10 p. 71 •
New way to pay Old Debte — ^D* L. Oct. 19 1748— D. L. May
11 1759— D. L. Oct. 21 1769— C. G. April 18 1781— C 6.
Sep. 17 1781— D. L. Nov. U 1788— C.G. April 19 1796
—0. 6. March 28 1801— C. G. Dec. 29 181 O^C. 6. Nor.
15 1814— D. L. Jan. 12 1816— C. G. Dec. 14 1820— & O.
Oct. 25 1827.
New Wonder, a Woman nerer Vext — see C. G. Not. 9 1824-
NewB from Parnaasna — C. G. Sep. 23 1776.
News from Pljrmonth — gee toI. 10 p. 82.
News the Malady — see vol. 10 p. 194.
Next door Neighbonn — Hay. Jnly 9 1791.
Nice Yalonr— see lOih vol. of Beaumont and Fletcher 1778.
Nicodemns in Despair— Hay. Aug, 31 1803.
Nigel, or the Crown Jewels— C. G. Jan. 28 1823.
Night before the Wedding and the Wedding Nigfat-^. 6. Not.
17 1829.
Night Walker— T, R. 1682— D. L. Oct. 18 1705.
Night's AdTontnres, or Road to Bath— see toL 10 p. 235.
Ninit— C. G. AprU 24 1787— D. L. May 11 1801.
Nine Points of the Law— Hay. July 18 1818.
Ninnetta^-C. G. Feb. 4 1830.
Nmth Statne— D. L. Not. 29 1814.
No— Bath May 16 1828.
Noah's Flood— see toI. 10 p. 145.
Noble Gentleman-— see Fool's Preferment 1688.
Noble Lie— see vol. 10 p. 216.
Noble OuUaw— C. G.April 7 1815.
Noble Peasant— Hay. Aug. 2 1784.
Noble Pedlar— D. L. May 13 1771.
Noble SlaTe— see toI. 10 p. 198.
Noble Stranger — see toI. 10 p. 117.
Nobody— D. L. Not. 29 1794.
No Cure, No Pay— see toL 10 p. 204.
No Fools like Wits— L. I. F. Jan. 10 1721.
Nokes— his characters T. R. 1602.
No Matter What-D. L. AprU 25 1758.
Nondescript— C. G. Oct- 5 1813.
Digitized by VjOOQ IC
INDEX* Ixxxix
Non-Jaror-^D. L. Dec. 6 1717— D. L. Oct. 22 1745— C. G.
Oct. 18 1745 — C. G. Jan. 4 1750 — D. L. Feb, 6 1753—
C. G. Oct. 22 1754.
No one's Enemy but hig own— C. O. Jan. 9 1764-^C. G. Oct. 26
1774.
Nootka Soand— C. G. Jane 7 1790.
No Prelade— Hay. May 16 1803.
Norah, or the Girl of Erin— C G. Feb. 1 1826.
Norris-Jiis characters D. L. 1730-1731.
Northern Hebes8-L. I.F.April 27 1716.
Northern Lass— T. R. 1684— Hay. Deo. 13 1706 — D. L. June
24 1717— C. G. Jan. 18 1738.
Northern Inn, or the Days of Good Queen Bess — Hay. Aug.
16 1791.
Northumberland — see vol. 10 p. 187.
Northward Ho»— ^ee vol. 10 p. 8.
Norwood Gipsies— C. G. May 28 1799.
Nosegay of Weeds — D. L. June 6 1798.
No Song no Supper — D. L. April 16 1790 — C. G. April 26
1797.
Nota Bene— D. L. Dec. 12 1816.
Not at Home— D. L. C. Nov. 20 1809.
Note of Hand— D. L. Feb. 9 1774.
Nothing Superfluous— Hay. Aug. 5 1829.
Notoriety— C. G. Nor. 5 1791.
Nomjad— see D. L. Not. 25 1813.
Novella — see vol. 10 p. 34.
Novelty— L. I. F. 1697.
No Wit like a Woman's— D. L. March 28 and 31 1769.
No Wity no Help, like a Woman's — see Counterfeit Bridegroom
D. G. 1677.
Noyades— Bath Nov. 19 1828.
Nunnery— C. G. April 12 1785.
Nuptials of Peleus and Thetia— see vol. 10 p. 127.
Nursery — for the King's and Duke's Companies^see vol. 1 pp.
152-153.
Nymph of the Grotto— C. G. Jan. 15 1829.
O.
Oaks, or the Beauties of Canterbury — see vol. 10 p. 193.
OberoOy or the Charmed Horn — D. h. March 27 1826.
Digitized by VjOOQ IC
XC INDEX.
Oberon, or the £lf King's Oath— C. O. April 12 1826.
Oberon*8 Oath, or Paladin and Princess— D. L. May 21 1816b
Obi— Hay. July 5 1800— D. L. March 14 1818.
Obstinate Lady — see vol. 10 p. 133.
Occasional Prelude at Hay. 1767.
Occasional Prelode at C. 6. Sep. 21 1772.— for Miss Bananti.
Occasional Prelude at C. 6. Sep. 17 1792.
Oculist, by Dr. Bacons-see vol. 10 p. 179.
CEdipua — D. G. 1679 — D. L. Oct. 23 1708 — L. I. F. Not. 8
1722— C. G. March 25 1738— D. L. Nof. 19 1740— D. L.
April 2 1744— C. G. Jan. 10 1755.
Of Age To-morrow— D. L. Feb. 1 1800— Bath March dO 1802
— C. G. Oct. 9 1807— Hay. Oct. 8 1825 — C. G. Not. 24
1825.
Oil and Vinegar— Hay. July 10 1820.
0'Kee£fe's bt.— C. G. June 12 1800.
0'Kee£fe*s Works — see toI. 7 p. 402.
0'Kee£fe's Recollections— 1825-1826.
Old and Young— D. L. Dec. 5 1822.
Old Batchelor— T. R. 1693 — D. L. March 15 1708— L. I.F.
Jan. 13 1722— D. L. Nov. 1 1742— C. G. Nov. 26 1746—
D. L. Oct. 24 and Nov. 2 1753 — C. G. April 29 1760 —
Hay. Aug. 25 1769— D. L. Nov. 19 1776 —D. L. Oct 9
1777— Ci G. March 5 1789.
Oldcastle Sir John— see end of D. L. 1713-1714.
Old City Manners— D. L. Nov. 9 1775.
Old Cloathsman— C. G. April 3 1799.
Old Couple — see 7th vol. of Dodsley 1744.
Oldfield Mrs.— her characters D. L« 1729-1730.
Old Fortunatns— see C. G. April 12 1819.
Old Law— see vol. 4 of Massinger's works 1805.
Old Maid — D. L. July 2 1761 — C. G. Mareh 15 1766 -. D. L.
May 4 1795— C. G. May 27 1796 — D. L. Od. 26 1797 --
C. G. June 21 1820.
Old Man taught Wisdom— see Virgin Unmasked.
Old Mode and New— D. L. March 11 1703.
Old Pkys— see end of 1814-1815 — see end of 1823-1824 — aee
end of 1827-1828 — see particularly vol. 9 p. 572.
Old Robin Gray— Bath Dec 18 1784.
Old Troop— T. R. 1665 — Hay. July 30 1707 — D. t. Jdf 27
1714— D.L. Aug. 6 1717.
Digitized by VjOOQ IC
iND£X. XCl
Old Women Weatherwise-^see end of D. L. 1769-1770.
Olindo and Sophronia^see vol. 10 p. 179.
OUTer Cromwell— 406 voL 10 p. 176.
Olympia— see toI. 10 p. 236.
Olympus in an Uproar— C. 6. Nov. 5 1706.
Omai— C. 6. Deo. 20 1785.
Onoe a LoTer and always a Lover — see She Gallants D. L. March
J 3 1746.
One and All— see vol. 10 p. 195.
O'Neill Miss— her characters C. 6. 1818-1819.
One» Two, Three, Foor, Five by Advertisement —Bath May 21
1825.
Opera of Operas, or Tom Thumb the Great — D* L. Nov. 9 1733.
Opportunity- see T. R. 1682.
Opposition (Interinde from Sir Ck>nrtly Nice) — Hay. Aug. 6
1790.
Oracle— C. 6. March 17 1752 — C. G. March 26 1765 — Bath
May 9 1823.
Oracle, or Interrupted Sacrifice — C. G. Feb. 20 1827.
Orange Boven — D. L. Dec. 8, 9 and 10 1813.
Oratora— Hay. 1762-Hay. 1767.
O^rdinAiry— see vol. 10 of Dodsley 1744.
Orestes by Go£f— see vol. 10 p. 4.
Orestes by Theobald— L. I. F. April 3 1731.
Orestes by Franklin — C. G. March 13 1769 — acted at D. L. as
Electra Oct. 15 1774.
Orestes in Argos — C. G. April 20 1825.
Ormasdes— see vol. 10 p. 139.
Oroonoko— D. L. 1696— D. L. April 19 1708— D. L. Feb. 1 1716
— L. I. F.March 24 1720— D. L. Jan. 3 1735— D. L. Oct.
22 1751— D. L. Oct. 13 1755 — D. L. Dec. 1 1759 (as al-
tered by Hawkes worth)— D. L. Nov. 28 1769— D. L. May
17 1781— C. G. Jan. 8 1785 — D. L. Oct. 31 1789 — C. G.
May 30 1792— C. G. Dec. 21 1795 — C. G. March 22 1806
— D. L. Jan. 20,1817— D. L. June 1 1829.
Orphan — D. G. 1680 — Hay. March 11 707 — D. L. March U
1715— L. I.F. Oct. 5 1721— D. L. Mardi 16 1737-J>. L.
Oct. 5 1742— D. L. Nov. 16 1746— C. G. Nov. 11 1746 —
D. L.Nov. 18 1747— D. L. April 14 1760 — C. G. Oct. 19
1767— D. L. Dec. 22 1772— C. G. March 31 1783 — C. G.
Feb. 4 1786— C. G. Oct. 13 1797— C. G. Dec. 2 1816.
Orphans, or Generous Lovers — see voL 10 p. 217.
Digitized by VjOOQ IC
XCll INDEX.
Orphan of Cldna— D. L. AprQ 21 1759.D. L. April 2 1764—
C. G. Kov. 6 1717.
Orphan of the Castle— Bath March 17 1814.
Orpheus and Eorydice, Pant.— C. 6. Feb. 12 1740—0. 6. Jan.
2 1746— C. G. Oct. 15 1787.
Orpheus and Eurydice (serious Opera)— C. 6. Feb. 28 1792.
Om^see Miss BaiUie at end of 1811-1812.
Orrery Earl of— see end of D. G. 1671— and end of 1738-1739.
Oscar and Malvina— C. G. Oct. 20 1791— < with Dr. Johnaon's
opinion of Ossian.)
Ozmyn and Daraxa — D. L. C. March 7 1793.
Othello— T. R. Feb. 6 1669— Hay. Jan. 28 1707— D. L. Not.
27 1711— L. I.F. Jan. 10 1722— D. L. Jan. 4 1738— D.L.
March 7 1745— C. G. June 20 1746— D. L. Oct. 4 174d—
D.L. March 9 1749- Othello acted by Sir Francis Delaval,
&c. D. L. March 7 1751— C. G. Oct. 18 1754— D. L. March
28 1761— C. G. Oct. 12 1762— D. L.March 31 1764— Hay.
Aug. 30 1769— D. L. April 29 1773— C. G. Dec. 16 1774
Hay. July 24 1780—0. G. Noy. 10 1780— D. L. March 8
1785— C. G. April 23 1785— C. G. Oct. 12 1787— Hay.
Sept. 4 1797— C. G. Nov. 28 1800— C. G, Jan. 20 1804—
C. G. Nov. 7 1818— C. G. Dec. 21 1827.
Otto of Wittelsbach — see vol. 10 p. 218.
Otway acted in Forced Marriage D. G. 1672— see also Don Car-
los D. G. 1676.
Ourselves— D. L. C. March 2 1811.
Outlaws— D. L. Oct. 18 1798.
Out of Place, or Lake of Lausanne— C. G. Feb. 28 1805.
Outside Passenger— Hay. July 4 1811.
Outwitted at Last— D. L. Dec. 131817.
Over the Water!— Hay. Sep. 23 1820.
Owen Prince of Powys — D. L. Jan. 28 1822.
Oxonian in Town — C. G. Nov. 7 1767.
P.
Packet Boat-.-C. G. May 13 1794.
Pack's characters— L. I. F. 1721-1722.
Pad-C G. May 27 1793.
Padlock— D. L. Oct. 3 1768— C. G. Oct. 23 1770— C. 6. Nor.
28 1786— Hay. Aug. 20 1793— D. L. June 8 1829.
PiBtus and Arria — see vol. 10 p. 230.
Palladins and Irene— ^ee vol. 10 p. 189
Palmer and Mrs. Palmer — their characters — ^D. L. 1767-1768.
Digitized by VjOOQ IC
INDEX. XCUl
Palmer John—his characters — D. h. 1797-1798.
Pamela— 6. F. Not. 9 1741.
Pandora, or Conrerts — see L. I. F. 1665.
Pannel— D. L. Nor. 28 178a— Hay. Aug. 24 1808— C. G. April
8 181S— D. L. Dec. 9 1825.
Panthea Queen of Sosia — see yoI. 10 p. 229.
Panthea, or Captire Bride — see vol. 10 p. 229.
Pantheonites— Hay. Sep. 3 1773— D. L. March 26 1774.
Pantomimes and Entertainments — see toL 3 p. 154.
Papal Tyranny in the Reign of King John— C. 6. Feb. 15 1745.
Paradox, or Maid, Wife, and Widow— C. G. April SO 1799.
Paragraph— C. 6. March 10 1804.
Parasitaster— «ee vol. 2 of Old PUys 1814-1815.
Pardoner and the Frere, the Curate and Neybonr Pratte— 4ee Tol.
10 p. 85.
Parliament of Lore — see 2d vol. of Massinger 1805.
Parricide, by Sterling— 6. F. Jan. 29 1736.
Parricide, by W. Shirley— C. G. Jan. 17 1739.
Parricide, by Allen— Bath May 12 1824.
Parsons— his characters— D. L. 1794-1795.
Parson's Wedding— see T. R. Oct. 11 1664-4br the plot see
T. R. 1673.
Parthenia— see yoI. 10 p. 181.
Parthian Exile — see vol. 10 p. 189.
Partisans— D. L. May 21 1829.
Partners—Hay. June 28 1805.
Pasquin-Hay. 1736— L. I. F. Jan. 24 1737.
Passion Week — Plays, &c. stopped — see end of D.L. 1752-1753
Passionate Lorer— see Tol. 10 p. 27.
Passive Husband- see Word for Nature D. L. Dec. 5 1798.
Past and Presenl^-D. L. Feb. 23 1830.
Pastor Fido— D. G. 1676— acted by Women at D. G. Oct. 30
1706.
Past Ten o'clock— D. L. March 11 1815.
Patents — Killegrew and Davenant had each of tbem a Patent
granted to him in 1660 — Wilkes, Gibber, Dogget and
liooth had a Patent granted to them jointly on Jan 19 1714
O. S. — this was for 21 years — Foote*s Patent passed the
Great Seal in July 1766 for his life— Colman's Patent seems
to have been renewed every year.
Digitized by VjOOQ IC
Xav IMDE3C.
Pateoty &c. of 0. 6. purchased by Harris, Ratharford, Colmu
and Powell in 1767.
Pathomachia— -see Tol. 10 p. lOL
Patie and Peggy (Gentle Shepherd altered)— D. L. May 31
1731.
Patriot — altered from L. J. Brntns— 4ee end of D. L. 1703.
Patriot King, by BickneU^-eee yoI. 10 p. 198.
Patriot Prince-— see voL 10 p. 230.
Patriot T. — from Metastasio— >see yoL 10 p. 194.
Patron by Foote— Hay. 1764— -Hay. Sept. 5 1774— Hay. Amr.
1 1781— D. L. C. Dec. 28 1792.
Patron, or Statesman's Opera— Hay. 1729.
Panl and Virginia^C. 6. May 1 1800— D. L. May 26 1817—
D. L. Jan. 26 1822— C. G. May 23 1823.
Panl Pry— Hay. Sep. 13 1826— D. L. June 13 1829.
Panl Pry on Horseback— Bath Not. 15 1826.
Pansanias— D. L. 1696.
Parilion^D. L. Oct. 16 1799.
Peasant Boy— D. L. C. Jan. 31 1811— D. L. June 3 1817— D. L.
May 31 1822.
Peasant of Lucem—see rol. 10 p. 233.
Peep behind the Curtain — D. L. Oct. 23 1767--D. L. Matdi 86
1779— C. G. March 27 1790— Hay. Sept. 5 1796.
Peepmg Tom— Hay. Sep. 6 1784— C. G. April 20 178a— O. JL
Oct. 29 1795— Hay. May 20 1803.
Peep into Elysium— Hay. Aug. 10 1784.
Peep into the Green Room— C. G. Sep. 20 1775.
Peer William — ^for humorous account of him from Chiardian-
see Old of X>. L. 1712-1713.
Peeyish Man— see toL 10 p. 214.
Penelope — see Hay. 1728.
Percival Mrs.^see Mrs. Verbrnggen.
Percy-^C. G. Dec 10 1777— Hay. July 6 1780L—D. L. May 6
1786— D. L. Sep. 29 1787— C. G. Oct. 12 1797— D. L.
Oct. 6 1807— C. G. Jan. 7 1812— C. G. Nor. 11 1815.
Perfection— D. L. March 25 1830.
Perfidious Brother, by Theobald— L. I. F. Feb. 21 1716.
Periander—L. I. F. Jan. 13 1731.
Perides-see Marina at C. G. Aug. 1 1738.
Peijured Devotee — see rol. 10 p. 168.
Peijured Husband— D. L. 1700.
Digitized by VjOOQ IC
INDEX. xcr
Ferjiiror— L. I. F.. Dec 12 1717.
Perkin Warbeck— eee D. L. Jan. 18 1746^0. F. Dec. Id 1745.
Ferolla and Isadora—D. L. Dec. 3 1705.
Peronse— C. 6. May 5 1801.
Perplexed Coaple, or Mistake upon Mistake-^L. I. F. Feb. 16
1715.
Perplexed Lovers — D. L. Jan. 19 1712*
Perplexities— C. 6. Jan. 31 1767.
Persererance— C. 6. June 2 1789.
Persian Heroine^D. L. Jane 2 1819.
Persian Princess— D. L. May 31 1708.
Personation— D. L. April 29 1805— C. O. May 29 1807.
Pernyian— G. G. Mareb 18 1786.
Peter and Paul— Hay. July 4 1821.
Peter Fin*-Hay. Joly 11 1822.
Peters Hagh^--see toI. 1 p. 16.
Peter Smink— Hay. Sep. 26 1826.
Peter tbe Great, or tbe Battle of Pnltowa — 1>. L. Feb. 2t 1829.
Peter the Great, or Wooden Walls — C. G. May 8 1807.
Peter Wilkins— C. G. April 16 1827.
Petticoat-Plotter— D. L. Jnne b 1712— L. L F. JTot. 17 1715.
Petticoat- Plotter, or More ways than cne for a Wife — setf toL
10 p. 172.
Peyeril of tbe Peak by Ball— Bath March 5 1829.
Peveril of tbe Peak Op. by * • — C. G« Oct. 21 1826.
Phaedra and Hippolitns — Hay. April 21 1707— L. I. F. Jan. 28
1723 — D. L. Dec 3 1726 — D. L. Nor. 28 1751 _ C. O.
Not. 7 1754— D. L. March 24 1774— C. G. Feb. 21 1775
—Hay. Jone 26 1780— C. 6. March Z 1785.
Phaeton— D. L. 1698.
Phantoms, or Irishman in England — see toL 10 p. 226.
Pharo Table— C. G. April 4 1789.
Phebe, or the Beggar's Wedding — D. L. July 4 1729.
Phikndering— D. L. Jan. 13 1824.
Phiknthropist^-see toI. 10 p. 222.
Philaster— T. R. May 30 1668 — acted by the women at T. B.
1673— D. L. Oct. 13 1711 — D. L. Dec. 31 1715— D. L.
Oct. 8 1763 — C. G- Not. 23 1767 — D. L. May 6 f 773 —
C. G. Oct. 20 1774— C. G. Oct. 3 1780— D. L. Dec 1 1785
— C. G. Nov. 24 1796— Bath Jt>ec 1 1796 — B&tb Dec. 12
1817.
Digitized by VjOOQ IC
XCn I N DEX.
Philaster, by Settle— T. R. 1695.
Philip of Macedon-JL I. F. April 29 1727.
Philodea— C. G. Jan. 20 1754.
Philoctetes in Lemnos— see rol. 10 p. 201.
PhUodamus— C G. Dec. 14 1762.
Philotas, by Frowde— L. I. F. Feb. 3 1731.
Philotas, by Daniel— see yoI. 9 p. 682.
Phoenix — see vol. 10 p. 10.
PhoBniz in her Flames— see Tol. 10 p. 69.
Phrenologists — C. G. Jan. 12 1830.
Picture, by Massinger— see Magic Picture C. G. Not. B 1783.
Picture, or Cuckold in Conceit — D. L. Feb. 11 1745.
Picture, or My own Choice— see toI. 10 p. 204.
Piety in Pattens— Hay. 1773— Hay. July 4 1774— Hay. June 11
1777 — C. G. May 15 1786 — D.L. May 19 1790 — Hay.
July 23 1810.
Pigeons and Crows— Hay. Aug. 28 1819.
Pilgrim by Killegrew-^see yoL 1 p. 391.
Pilgrim, altered from Fletcher— D.L. 1700— D. L. July 19 1715
— L. I. F. Nov. 17 1719— D. L. Nov. 30 1738— D. L. Oct
30 1750— C. G. Feb. 15 1762— C. G. AprU 21 1780— D. L.
Oct. 26 1787— Bath May 9 1812.
Pilot— Bath Feb. 11 1829.
Pinkethman's characters^D. L. 1723-1724.
IMrate— D. L. Jan. 15 1822.
Pirates— D. L. C. Nov. 11 1792.
Piso's Conspiracy— D. G. 1676.
Pitt Mrs.— her characters C. G. 1791-1792.
Pioarro— D. L. May 24 1799— C. G. Oct. 17 1803--C. 6. June
17 1816. j
Pizarro translated by Dutton— -see voL 7 p. 422.
Pizarro by Ainslie in blank verse — see vol. 7 p« 423.
Plaoe Hunters— C. G. Feb. 12 1819.
Phgue began about 1665— ceased Nov. 20 1666— theatres shot
in the interim.
Plague of Riches— see Hay. 1738.
Plain Dealer— T. R. 1674— T. R. 1683— L. I. F. Nov. 29 1715
— D. L. May 15 1723— C. G. Jan. 15 1733— D. L. Jan. 14
1738— C. G. Jan. 18 1743— revived with alterations at D. !•.
Dec. 7 1765-D. L. Dec 11 1776-C. G. April 18 1786—
D. L. June 1 1787— D. L. Feb. 27 1796.
Digitized by VjOOQ IC
Platonlck Lady» hj Mrs. CentliTre— Hay. Not. 25 1706.
Platonick Loverg— see toI. 10 p. 79.
Platonick Wife— D. L. Jan. 24 1765.
Flaotiu^flee end of 1766-1767.
Playhoase Compatation— C. 6. Dec 26 1804.
Playhonge to be Let— see L. I. F. 1665 — Hay. July 31 1706.
Play b the Plot— D. L. Feb. 19 1718.
Plays acted at Coort— see L. I. F. Feb. 28 1704 and D. L. Sept.
24 1718.
Pleasures of the Town— (see Author's Farce) — Bath April 4
1774.
Plot— D. L. Jan. 22 1735.
Plot and Counterplot — Hay. June 30 1808.
Plot and no Plot— D. L. 1697— C. G. April 23 1746.
Plots, or the North Tower— see D. L. C. June 6 1811.
Plymoath in an Uproar— C. G. Oct. 20 1779.
Poachers— C. G. Feb. 6 1824.
Pocahontas, or Indian Princess — D. L. Dec. 15 1820.
Poetaster— see 2d yoL of Ben Jonson 1815-1816.
Poets Laureate— see end of Ben Jonson 1815-1816.
Point at Herqui- C. 6. April 22 1796.
Point of Honour, by C. Kemble— Hay. July 15 1800^0. O.
April 28 1801— D. L. Dec. 10 1801— D. L. Jan. 5 1807—
Hay. Aug. 28 1809— C. 6. Jan. 14 1818.
Point of Honour, in 2 acts— C. G. May 8 1792.
Policy— D. L. Oct. 15 1814.
Polite Conyersatiou— D. L. April 23 1740.
Politician, by Shirley— see vol. 9 p. 561.
Politician Cheated—see toI. 10 p. 138.
Politician Reformed — see toI. 10 p. 189.
Politics systematically introduced on the stage— see toL 1 p. 207.
PoUticks on both Sides— C. G. July SO 1735.
PoUy— see end of L. I. F. 1728-1729- Hay. June 19 1777—
Hay. June 11 1782— D. L. June 16 1813.
Polly Honeycombe— D. L. Dec. 5 1760— C. G. Oct. 14 1762—
C. G. Not. 19 1776— Hay. June 14 1780— D. L. Feb. 27
1790.
Polyeuctes — see toI. 10 p. 70.
Pong Wong— Hay. Sept 13 1826.
Ponteach, or Sayages of America^— see rol. 10 p. 184.
Digitized by VjOOQ IC
XCnil ISDRX^
Poor Covent Garden—see G. G. Sept. 17 1792.
Poor Gentleman— C. G. Feb. 11 1801— Hay. Jane 2 1803—
D. L. C. May 15 1809— D. L. Jane 4 1816— D. L. May
31 1824— D. L. March 1 1828.
Poor Old Dmry— D. L. C. Sept. 22 179L
Poor Old Haymarket — Hay. June 15 1702.
Poor Relations — ^D. L. Feb. 25 1815— acted bat once.
Poor Relations — Hay. Aug. 14 1826— acted 17 times.
Poor Sailor, or Little Ben and Little Bob— C. G. May 29 1705.
Poor Scholar_see toI. 10 p. 136.
Poor Soldier— C. G. Nov. 4 1783— C. G. Sept. 17 1790— D. L.
Jane 7 1797.
Poor Vnlcan- C. G. Feb. 4 1778— C. G. May 27 1789— a G.
May 7 1799— C. G. Feb. 8 1813.
Pope Miss— ber characters D. L. 1807-1808.
Pope Mrs. (formerly Mrs. Spencer)— see D. L. Jane 10 1803.
Pope Mrs. (Miss Younge) — ^her characters C. G. 1796-1797.
Pope's characters — D. L. 1826-1827.
Popping the Question- D. L. March 23 1830.
Porsenna's Inyasion — see vol. 10 p. 174.
Person — see vol. 1 p. 433— see vol. 5 p. 349 — C. G. Dec. 23 1786
— see Vortigem at the end of D. L. 1795-1796— and voL 10
p. 264.
Porter Mrs for her accident see end of D, L. 1730-1731— Ar
her characters see C. G. 1742-1743.
Portfolio, orD'Anglade Family— G. G. Feb. 1 1816.
Portrait— C. G. Nov. 22 1770.
Portrait of Cervantes — C. G. Jane 21 1808.
Portsmoath Heiress— see vol. 10 p. 151.
Positive Man— C. G. March 16 1782— C G. May 20 1796.
Poverty and Wealth— see vol. 10 p. 209.
Powell George — see end of D. L. 1698 — - taken np by a wamnt
from the Lord Chamberlain's office, see end of D. L. 1703-
1704— his bt. recommended by Tatler D. L. April 7 1712—
his characters D. L. 1714-1715.
Powell Mrs.— ^er characters C. G. 1815-1816.
Powell William— his characters C. G. 1768-1769.
Prabod*h Chandro'daya, or Rise of the Moon of Intellect •— see
vol. 10 p. 232.
Practicable Jokes— Bath March 19 1825.
Pragmatical Jesuit New-^Levenldr-^see vol. 10 p^ 142.
Digitized by VjOOQ IC
INDEX. 3LC1X
Preoeptor-see yoI. 10 p. 191.
Preciosa, or Spanish Gipsey— C. O. April 28 1825.
Preladio to Beggar's Opera — Hay. Aug. 8 1781.
Presumption^ or the Fate of Frankenstein — C. O. Jtily 9 1824.
Presumptaons Loye— see L. I. F. March 10 1716.
Presumptive Eyidence— Bath March 16 1829.
Pretenders by Dilke— L. T. F. 1698.
Price Joseph — see end of L. 1. F. 1665.
Prices of Admission — see Squire of Alsatia and Darius T. K.
1688.
Pride shall haye a Fall— C. 6. March 11 1824.
Primitive Puppetshow— Hay. Feb. 15 1773.
Primrose Green— C. G. May 24 1791.
Prince of Agra (altered from Aurenge-Zebe) — C. 6* April 7
1774.
Prince of Tunis — see yoL 7 p. 183.
Princess — see vol. 1 p. d91«
Princess of Cleye— D. G. 1681.
Princess of Georgia — ^C. G. April 19 1799.
Princess of Parma— L. I. F. 1699.
Princess of Zanfanip— see vol. 10. p. 198.
Prior Claim— D. L. Oct. 29 1805.
Prison-Breaker — see vol. 10 p. 156.
Prisoner— D. L. C Oct. 18 1792.
Prisoner at Large— Hay. July 2 1788— C. G. Oct. 30 1792.
Pritchard Mrs^her characters D. L. 1767-1768.
Privateer— Bath July 10 1813.
Private Theatricals — see vol. 10 p. 201.
Priae— B. L. C.March 11 1793- C. G. May 15 1804— C. G.
May 31 1816.
Procrastination— Hay. Sept. 21 1829.
Procuresses — see Conspiracy D. G. 1680.
Prodigal (altered from Fatal Extravagance) — Hay. Dec 2 1793.
Prodigal — ^Melo-dramatic Play in 3 acts — D. L. April 29 1816.
Prodigal, or Recruits for the Queen of Hungary (Woman Cap-,
tain with a new name).— Hay. Oct. 10 1744.
Projectors by Wilson-^see vol. 10 p. 139.
Profectors 1737— see vol. 10 p. 166.
Project*-D. L. Feb. 18 1786.
Digitized by VjOOQ IC
C. INDEX,
PromiSMiy Note^Bath March 18 1825.
PkDmos and Gaflaandra^— «ee roL 2 p. 221.
Proof FresumptiTe— G. G. Oct. 20 1818.
Prophet—C. G. Dec. 13 1788.
Prophetess— T. R. 1690— L. I. P. Dec 3 1715— L. I. V. Nor.
28 1724— L. I. P. May 20 1781— C. G. Peb. 1 1768— C. G.
May 17 1784.
Provoked Husband — D. L. Jan. 10 1728— with account of what
part was written by Vanbnrgh and what by Cibber — L. I. P.
Nov. 2 1731— D. L. March 12 1744— C. G. Sept. 21 1744
— D. L. Jan. 3 1747— C. G. Oct. 28 1754— D. L. April 2
1767— D. L. April 3 1764— C. G. Nov. 29 1769^— D. L.
Nov. 11 1774— C. G. Nov. 12 1774— Hay. Ang.21 1778—
D. L. Peb. 3 1784— C. 6. Dec. 17 1790— D. L. Nov. 22
1796— C. G. Peb. 20 1797— Bath Feb. 28 1799— C. a
Oct. 5 1803— Hay. Aug. 27 1811— C. G. Nov. 22 1816—
C. G. May 11 1821— Hay. July 5 1821— C. G. Oct. 4 1828
— D. L. March 21 1829.
Provoked Wife— L. I. P. 1697— Hay/ Jan. 19 1706 with alte-
rations—L. I. P. Jan. 3 1716— D. L. Jan. 11 1726 with
part of the original scene — L. I. P. March 19 1726 — D. L.
April 23 1735— D. L. Jan. 8 1742— D. L. Nov. 16 1744—
D. L. Nov. 26 1745— D. L. Nov. 10 1747— C. G. April 19
1762— D. L. Oct 10 1766— Bristol July 11 1770_D. L.
Feb. 5 1776— Hay. Sep. 10 1777— C. G. Oct. 23 1777—
C. G. March 14 1780— D. L. May 17 1786--C. 6. Oct. 25
1786— Hay. Aug. 8 1796.
Prunella— D. L. Peb. 12 1708.
Prynne's Histriomasttx — see vol. 1 p. 9.
Psyche— D. G. 1674— D. L. June 10 1704.
Puritan, or Widow of Watling Street— D. L. June 25 1714,
Purse— Hay. Feb. 8 1794.
Pyramus and Thisbe— L. I. P. Oct. 29 1716— C. G. Jan. 25
1745.
Pyrrhus— L. I. F. 1695.
Q
Quadcs— D. L. March 18 1705— D. L. March 30 1745.
Quacks, or Credulous Man — D. L. April 19 1784.
Quadrille— Bath March 22 1820.
Quadrupeds of Quedlinbni^hp— Hay. July 26 1811.
Quadrupeds, or Manager's last Kick— D. L. C. April 10 1812.
Quaker— D. L. May 3 1775— D. L. Oct. 7 1777— C. G. May 6
1789*
Digitized by VjOOQ IC
JNDBX. CI
Quaker's Opera«-«ee voL 10 p. 166*
Quaker's Wedding— L. I. F. Oct. 22 1719— only Vice Reclaimed
with a new name.
Qoarter of an Hour before Dinner — Hay. Aug. 5 1788.
Qnayers and Capers altered from Virgin Unmasked — D. L. Jnne
3 1817.
Qneeuy or the Excellency of her Sex^see toI. 10 p. 125.
Queen and Concubine — see rol. 10 p. 44.
Qneen Catherine — ^L. I. F. 1698.
Queen Mab— D. L. Dec 26 1750.
Queen of Arragon— see 10th toI. of Dodsley 1744.
Queen of Corinth — see vol. 6 of Fletcher 1778.
Queen's Arcadia, by Daniel — seeTol. 9 p. 582.
Queen's Exchange — see yoL 10 p. 45.
Querer por solo Querer — seeyol. 10 p. 143.
Queen Tragedy Restored — see toL 10 p. 175.
Quick's character»— C. O. 1797-1798.
Quin's cbaracter»— a 6. 1752-1753.
Quite Correct— Hay. July 29 1825.
R.
Race for a Dinner— C. 6. April 15 1828.
Race for a Wife (Musical F. — not printed)— C. 6. Oct. 20
1820.
Raft— C. O. March 31 1798.
Rage— C. 6. Oct. 23 1794— C. 6. April 30 1800— C. 6. Oct.
21 1807.
Raging Turk— «ee rol. 10 p. 3.
Ragged Uproar — see toI. 10 p. 178.
Raising the Wind — C. 6. Nov. 5 1803 — Hay. Aug. 4 1804—
D. L. Sep. SO 1816.
Ralph Royster Doyster — see toI. 10 p. 86.
Ramah Droog— C. O. Not. 12 1798— (in 2 acts C. O. May 14
1805)— D. L. Dec 18 1816.
Ram Alley— see end of D. L. 1723-1724.
Rambling Justice— T. R. 1678.
Ramsbottoms at Rheims — C. G. July 11 1825.
Ransom of Manilla— see toL 10 p. 201.
Rape, by Brady— T. R. 1692— reviyed with alterations at L. I. F.
Not. 25 1729.
Rape of Helen— C. O. May 19 1733.
Digitized by VjOOQ IC
Cll INDEX.
Rape of Lucrece— see Old Plays 1823-1824.
Raree Show — see toI. 10 p. 168.
Rayenna— C. 6. Dec. 3 1824.
Rarens, or Force of Conscience^-C. 6. Jan. 28 1817.
Raymond and Agnes — C. G. June 1 1797.
Raymond de Percy — see vol. 10 p. 242.
Rayner— see Miss Baillie 1811-1812.
Reakstraw mortally wounded on the stage — see L. I. . April
16 1723.
Reapers — see toI. 10 p. 187.
Reasonable Animals— see the end of Hay. 1780.
Rebellion — see vol. 10 p. 113.
Rebellion, or Norwich in 1649 — see vol. 10 p. 233.
Receipt Tax— Hay. Aug. 13 1783.
Redose— D. L. Jnne 14 1825.
Reconciliation — D. L. April 26 1813.
Recrimination, or a Cortain Lecture — ^D. L. April 22 1813.
Recruiting Officer— D. L. April 8 1706— L. 1. F.Jan. 22 1730
— C. G. Nov. 6 1740— G. F. Jan. 14 1742— D. L. Oct. 19
1742— C. G. April 1 1756— D. L. Oct. 3 1758-C. G. Sep.
23 1763 — D. L. April 18 1781 —C.G. Sept. 19 1783 —
D. L. April 27 1791 — Hay. July 3 1797 — C. G. Nov, 13
1812— D- L. Oct. 20 1818— C. G. Feb. 14 1829.
Recruiting Seijeant — D. L. June 3 1789.
Red Cross Knighte— Hay. Aug. 21 1799.
ReddisVs characters— C. G. 1778-1779.
Redowald — see vol. 10 p. 184.
Reformation C— D. G. 1672.
Reformation F.— C. G. June 28 1815.
Reformed in Time— C. G. May 23 1798.
Reformed Wife— D.L. 1700— and D. L. Oct. 31 1707.
Refusal— D. L. Feb. 14 1721— D. L. Nov. 28 1746—0. G. Oct
31 1750— D. L. Dec. 20 1753— D. L. Dec 19 1759— C. G.
Jan, 2 1761— C. G. Oct. 24 1775— D, L. OcL 4 1817.
Regenl^-D. L. April 1 1788.
Regicide— see voL 10 p. 175.
Register Office — D. L. April 25 1761— with a new character
D. L. Feb. 12 1768— D. L. April 21 1806.
R^us, by Crowne— T. R. 1692.
Regulus, by Havard— D. L. Feb. 21 1744.
Digitized by VjOOQ IC
iNDBx. cm
Reheanal—T. R. 1671— Hay. Not. 18 1709— C. G. Got. 10
1739— D. L. Jan. 25 1742— G. P. Feb. 3 1742— D. L. Oct.
7 1742— C. G. Nor. 6 1746— C. G. Sept. 14 1767— D. L.
April 6 1771— C. G. Oct. 11 1774— Hay. Aug. 2 1776—
Hay. Aug. 26 1777— C. G. Jan. 20 1778— C. G. (in 3 acta)
Sep. 28 1785— -ditto Hay. Aug. 9 1792— C. G. (in one act)
June 22 1819.
Rehearsal at Goatham— -see toL 10 p. 178.
Rehearsal, or Bays in Petticoats — D. L. March 15 1750-^D. L.
March 121751.
Rejected Addresses — see yoI. 10 p. 231.
Rejection— D. L. G. Nov. 20 1811.
ReUpse— D. L. 1697— D. L. Nor. 13 1702-.-D. L. Dec 12 1715
—C.G.Jan. 2 1745— D. L. Sep. 13 1748— D. L. Nov. 1
1758— C.G. April 25 1763— C.G. March 20 1770— see
Trip to Scarborough.
Remorse— D. L. Jan. 23 1813— D. L. April 14 1817.
Rencountre^Hay. July 12 1827.
Rendesvous— Bath Dec 18 1818— C. G. Nov. 1 1820.
Renegade— C. G. Dec 2 1812.
Renegado— see 2d vol. of Massinger 1805.
Reparation— D. L. Feb. 14 1784.
Reprisal— D. L. Jan. 22 1757— D. L. April 1 1771— C. G. Oct.
21 1777— C. G. Apr'd 24 1793— C. G. April 23 1801.
Restauration of King Charles 2d — see Hay. 1732.
Restauration (Philaster altered) — see vol. 10 p. 154.
Retaliation.-C. G. May 7 1782.
Retribution— C. G. Jan. 1 1818.
Returned " Killed"— C. G. Oct. 31 1826.
Return from Parnassus— see Hawkins 1773,
Revenge, or Match in Newgate — D. G. 1680*
Revenge, by Young— D. L. April 18 1721— C» G. Nov. 12 1744
— D. L. Oct. 10 1751— C. G. Jan. 14 1755— C. G. April 21
1774— D. L. AprU 24 1783— C. G. April 26 1783— D. L.
Jan. 19 1789— C. G. Oct. 3 1788— D. L. Oct. 2 1798—
— C. G. Jan. 4 1802— C. G. Sep. 30 1805— D. L. May 24
1815— Bath Dec 30 1816— C. G. Oct. 30 1820.
Revenge, or Novice of San Martino— see vol. 10 p. 234.
Revengeful Queen— D. L. 1698.
Revenger's Tragedy — see 4th vol. of Dodsley 1744.
Review— Hay. Sep. 2 1800-C. G. April 28 1801— D. L. April
23 1804.
Digitized by VjOOQ IC
civ I N DEX.
ReTolter — tee toI. 10 p. 147.
Revolt of the Greeks— D. L. June 10 1824.
Revolution of Sweden— Hay. Feb. 7 1706.
Reynolds Miss (Mrs. Saunders)— D. L. OcL 25 1766.
Reynolds' Life— 1825-1826.
Rhodon and Iris — see vol. 10 p. 101.
Rhyme and Reason— D. L. Nov. 11 1828.
Rich and Poor— D. L. June 23 1813.
Richard Cceur de Lion, by Burgoyne — D. L. Oct 24 1786 —
D. L. Oct. 19 1796— D. L. Oct. 6 1804 — C. G. May 24
1814.
Richard Ccdur de Lion, by Mac Nally— C. O. Oct. 16 1788.
Richard Duke of York— D. L. Dec. 22 1817.
Richard in Cyprus — see vol. 10 p. 186.
Richard 2d, altered by Tate— T. R. 1681.
Richard 2d, altered by Theobald^L. I. F. Dec 10 1719.
Richard 2d9 altered by Wronghton— D. L. Mardi 9 1815— aee
C. G. Jan. 12 1829.
Richard 2d, as written by Shakspeare— C. G. Feb. 6 1738 — ^Batli
Jan. 26 1815.
Richard 2d by Goodhall-see vol. 10 p. 187.
Richard 3d by Gibber— D. L.1700— D. L. Dec 6 1715— L. T. F.
March II 1721— D. L. Oct. 26 1734- D. L. Jan. 31 1739
— G. F. Oct. 19 1741, Garrick's 1st app — D. L. May 31
1742— C. G. Oct. 13 1742— C. G. June 16 1746— C. G. Jan.
27 1757— C. G. March 30 1761— D. L. Sept. 22 1774 —
D. L. May 27 1770—0. G. Jan. 1 1776— D. L. Oct.. 7 1777
— D. L. Sep. 12 1789 — C. G. Oct. 31 1800, Cooke's 1st
app.— C. G. April 1 181 1— C. G. June 5 1812— D. L. Feb.
12 1814.
Richard 3d, by Shakspeare— C. G. March 12 1821.
lUch Christopher — see Comparison between 2 stages 1702 — > be-
ginning of D. L. 1704-1706— end of D. L. 1708-1709 — be-
ginning of 1709-1710— beginning of L. L F. 1714-1715.
Rich John— acte Essex at L. I. F. Oct. 22 1716— and Nov. 10—
for his death, &c. see C. G. 1761-1762.
Riches— D. L. C. Feb. 3 1810— D. L. May 25 1814— Bath Feb*
14 1815— D. L. Feb. 13 1822.
Richmond Ueiress-T. R. 1693— D. L. March 2 1714.
Rienzi— D. L. Oct. 9 1828.
Right and Wrong— D. L. C. Jan. 2 1812.
Rights of Women— C. G. May 8 1792-
Digitized by VjOOQ IC
INDEX CV
Rinaldo and Arroida— L. L F. 1699.
Ring (altered from Pavilion)— D. L. Jan. 21 1800.
Riots— «ee L. I. F. Feb. 3 1721— D. L. Jan. 23 1740 _ D. L. in
Dec. 1743 about Garrick and Macklin — D. L. Nor. 17 1744
on account of raised prices to old Entertainments — D. L.
Nov. 8 and 18 1755 on account of Chinese Festival — D. L.
Jan. 25 1763 about half price— C. 6. Feb. 24 1763 for ditto
— C. G. Nov. 18 1773 about Macklin, see vol. 6 p. 424 —
O. P. riots C. G. 1809-1810 and 1810-1811.
Rise and Fall— Hay. Aug. 4 1821.
Rival Brothers — see vol. 2 p. 311.
Rival Candidates— D. L. Feb. 1 1775.
Rival Fathers, or Death of Achilles — Hay. 1730.
Rival Fools— D. L. Jan. 11 1709— D. L. Jan. 4 1722.
Rival Friends — see vol. 10 p. 104.
Rival Kings— T. R. 1677.
Rival Knights— C. G. Oct 9 1783.
Rival Ladies— T. R. 1664.
Rival Lovers— see vol. 10 p. 191.
Rival Modes— D. L. Jan. 27 1727.
Rival Priests— see vol. 10 p. 168.
Rival Queens, or Alexander the Great — T. R. 1677 — D. L. June
13 1704 —Hay. Dec. 30 1706 — L I. F. Dec. 1 1722 —
G. F. Nov. 29 1733— D. L. Nov. 22 1736 — C. G. March
14 1749 — C. G. Jan. 16 1756 — D. L. March 20 1764 —
— D. L. March 15 1768 — C. G. AprU 9 1771 — see Alex-
ander the Great.
Rival Queens — ^Burlesque Tragedy — Hay. June 29 1710 — D. L.
May 17 1738— C. G. April 18 1765— C. G. April 19 1780.
Rival Queens, or D- L. and C. G. —(Prelude) — C. G. Sep. 15
1794.
Rival Sisters by Gould— D. L. 1696.
Rival Sisters by Murphy-D. L. C. March 18 1793.
Rival Soldiers (altered from Sprigs of Laurel) — C. G. May 17
1797— D. L. July 8 1814.
Rival Valets-Hay. July 14 1825.
Rival Widows— C. G. Feb. 22 1735.
Rivals by Davenant^L. L F. 1664.
Rivals by Sheridan— C. G. Jan. 17 and 18 1775— D. L. Jan. 16
1777— D. L. April 14 1790 — Hay. Aug. 2 1792— C. G.
Oct. 30 1795— D. L. Nov. 8 1796 — Hay. Aug. 21 1809—
C. G. March 26 1811— C. G. Oct. 8 1818 — Hay. July 29
1819— D. L. Oct. 31 1820— Hay. July 1 1823.
P
Digitized by VjOOQ IC
CVl INDEX.
R4Mid to Rnin^C. 6. Feb. 18 l79£_Ha7. Ajag. 14 1796-^. G.
May 7 1799 — D. L. June 6 1803 — Hay. July 13 1811 —
C. G. Sep. 24 1813— D. L. May 31 1815 — Hay. Oct. 13
1824.
Robbers— see Red Cross Knights Hay. Ang. 21 1799.
Robber's Wife— C. G. Oct. 22 1829.
Robert the Deyil— C. 6. Feb. 2 1830.
Robin Hood Mas. Ent.— D. L. Dec. 13 1750.
Robin Hood Op. by Mac NaUy— 0. G. April 17 1784— m
Farce D. L. June 6 1797— C. G. Oct. 8 1798— D. L. JOaxA
13 1813.
Robinson Cmsoe by Pocock — C. G. April 7 1817.
Robinson Mrs. — her characters— D. L. 1779-1780.
Rob Roy the Oregarach^D. L. March 25 1818.
Rob Roy Mai^regor- C. G. March 12 1818— Bath April 15
1818— D. L. Jnly 3 182K
Roger and Joan— see July 27 1714 and C. G. March 20 1789.
Rogers Mrs. — see Triumphs of Virtue D. L. 1697 — h«r dianeters
— L. I. F. 1718-1719.
Ri^roeries of NichoUis- D. L. May 12 1826.
Rogues All— D. L. Feb. 5 1814.
Rokeby— seevol. 10 p. 232.
Roknd for an Oiirer— C. G. April 29 1819— D. L. April 27
1826.
Rolla, or Virgin of the Sun, by Kotzebue — see C. G. Jan. 31
1812.
RoUo— T. R. 1685— Hay. Not. 13 1705— D. L. Dec 21 1708.
Roman Actor— L. I. F. June 13 1722— D. L. May 23 1796—
in one act D. L. June 3 1822.
Roman Bride's Revenge — D. L. 1697.
Romance of an Hour— C. G. Dec. 2 1774— C. O. April 26
1788.
Roman Empress— T. R. 1671.
Roman Father— D. L. Feb. 24 1750— D. L. Jan. 28 1758—
D. L. March 27 1764— C. G. Nov. 18 1767— C G. Dec 8
1776— D. L. Nov. 16 1776— C. G. Oct. 17 1785— D. L.
Nov. 15 1794— C. G. Nov. 27 1809.
Roman Maid— L. I. F. Aug. 11 1724.
Roman Revenge — see vol. 3 p. 94.
Roman Sacrifice— D. L. Dec. 18 1777.
Roman Virgin — see Unjust Judge — L. I. F. 1670.
Rome— not Room— see C. 6. Feb. 29 1812.
Digitized by VjOOQ IC
INDEX. CVU
Romantick Lover — C. O. Jan. 11 1806.
Romeo and Jdiet— L. I. F. March 1 1662— Hay. Sep. 11 1744
— D. L. Nov. 29 1748— acted 12 nights gnccessively at
D. L, and C. G. from Sep. 28 1750— C. G. Oct. 10 1763—
D. L. Oct. 9 1756— C. G. April 10 1761— D. L. Oct. 1
1772— C. G. Sep. 29 1777— D. I-. May 11 1789— D. L.
April 26 1796— Hay. Sept. 7 1796— C. G. Nov. 2 1797—
D. L. Jan. 2 1815-C. G. Oct. 6 1814— Bath Dec. 29 1814
— C. G. Feb. 7 1827— D. L. Dec 15 1828— C. G. Oct. 5
1829.
Rome's Follies — see vol. 10 p. 146.
Romp— C. G. March 28 1778— D. L. Nov. 21 1785— Hay. Ang.
3 1786— C. G. Sep. 25 1786-C. G. Sept. 30 1795— C. G.
Jane 27 1811— D. L. May 22 1817.
Romnlos and Hersilia— D. G. 1682.
Rosalie, or Father and Daughter- Hay. Oct. 7 1823.
Rosalinda — see vol. 10 p. 169.
Rosamond— D. L. March 4 1707— D. L. March 8 1740— D. L.
Jan. 9 1747— reduced to 2 acte C. G. AprU 21 1767.
Rosciad by Churchill— see end of C. G. 1760-1761.
Roscius Young— see D. L. Dec. 10 1804.
Rose— D. L. Dec 2 1772.
Rose and Colin- C. G. Sep. 18 1778.
Rose d' Amour, or Little Red Riding Hat— C. G. Dec. 3 1818.
Roses and Thorns— Hay. Aug. 24 1825— D. L. May 3 1828.
Roses, or King Henry 6th — see vol. 10 p. 203.
Rose Tavern — see Neglected Virtue D. L. 1696.
Ros'ma— C. G. Dec 31 1782— D. L. April 21 1789.
Roundheads— D. G. 1682.
Round Robin — Hay. June 21 1811.
Rout— D L. Dec. 20 1758.
Rover 1st part— D. G. 1677— D. L. Feb. 18 1703— Hay. Jan.
20 1707— D. L. Dec 30 1715 — L- 1. F. April 5 1725 —
C. G. Feb. 19 1757.
Rover 2d part— D. G. 1681.
Royal Brunswick Theatre— see the end of 1827-1828.
Royal Captives — ^Hay. 1729.
Royal Converl^Hay. Nov. 26 1707— C. G. Jan. 4 1739— C. G.
Nov. 15 1762— C. 6. Nov. 14 1776.
Royal Flight— see vol. 1 p. 468.
Royal Fugitive— 0. G. Nov. 26 1829.
Royal Garland— see C. G. Oct. 1 1768.
Digitized by VjOOQ IC
CYlll I N DEX.
Royal Household — 10 ot the King's Company put on it at the
Restoration— «ee end of D. L. 1703-1704.
Roya]i8t— D. 6. 1682.
Royal King and Loyal Subject — see vol. 6 of Old Plays 1814-
1815.
Royal Marriage — see vol. 10 p. 165.
Royal Martyr — see vol. 10 p. 152.
Royal Master — see vol. 9. p. 549.
Royal Merchant, or Beggar's Bush — D.L« June 12 1705 — L. I.F.
Jan. 4 1716 — C. G. April 4 1738— D. L, Oct. 29 1740—
€. G. March 20 1760.
Royal Merchant Op.— C. G. Dec. 14 1767.
Royal Mischief— L. I. F. 1696.
Royal Oak— Hay. June 10 1811.
Royal Shepherd Op. — D. L. Feb. 24 1764— altered to Amintas
C. G. Dec. 15 1769.
Royal Shepherdess — L. I. F. 1669.
Royal Slave — see vol. 10 p. 53.
Royal Suppliants— D. L. Feb. 17 1781.
Royalty Theatre opened June 20 1787.
Rugantino— C. G. Oct. 18 1805— D. L. Oct. 9 1817.
Rule a Wife— T. R. 1663— T. R. 1683— Hay. Nov. 20 1706—
— L. I. F. Dec. 15 1731 — D. L. March 25 1756 — C. G.
March 25 1761— C. 6. Oct. 26 1763— D. L- Feb. 14 1776
—Hay. July 15 1777— C. G. Jan. 25 1780— D. L. Jan. 15
1784— D. L. Nov. 5 1788— D. L. Feb. 4 1797— C. G. Oct
11 1797 — C. G. Dec. 6 1803 — C G. C. May 29 1809 —
Hay. June 19 1810 — €. G. June 12 1811 with Kemfale's
Dons— D. L. June 20 1815— €. G. Oct. 25 1825.
Rumfuskin — Hay. Oct. 13 1822.
Rumfustian Inamorato— D. L. Feb. 24 1824.
Rump — see vol. 10 p. 76.
Runaway— D. L. Feb. 15 1776.
Runnamede — see vol. 10 p. 193.
Rushes — ^the stage formerly strewed with them — see RoUo T. R.
1685.
Russian (Melo-drame)— D. L. May 13 1813.
Ruth— see Brooke's Works 1778.
Ryan wounded — see €. G. March 15 1735— Jiis characters C 6.
1759-1760.
Ryder's characters— C. G. 1790-179L
Digitized by VjOOQ IC
INDEX, CIX
Rymer— see vol. 1 p. 218.
S
Sacrifice by Fane^see vol. 10 p. 147.
Sacrifice, or Cupid's Vagaries — see Victor's Works 1776.
Sadak and Kalastrade— €. 6. April 11 1814.
Sad One -^ see yoL 10 p. 68.
Sad Shepherd— see vol. 6 of Ben Jonson 1815 1816.
Sailor's Daughter— D. L.. April 7 1804.
Sailor's Opera— D. L. May 12 1731.
Saint Cecilie— see vol. 10 p. 140.
Sunt David's Day— C. G. March 31 1800.
Saint George — account of him — see C. G. Jan. 21 1778.
Saint George's Day— C. G. April 80 1789.
Saint Patrick for Ireland— see vol. 9 p. 555.
Saint Patrick's Day— C. G. May 2 1775 — C. G. April I 1796—
C. G. Jan. 28 1804 — €. G. June 11 1816 — C. G June 19
1821.
Salmacida Spolia — see toI. 10 p. 84.
Sampson Agonistes — see vol. 10 p. 142.
Sandford— his characters L. I. F. 1699.
Santlow Mrsv— «ee Mrs. Booth.
Sapho and Phao — see toL 8 p. S27.
Saracen's Head— Hay. Sept. 10 1814.
Sardanapalus — see Lord Byron 1820-1821.
Satiro-mastix — see Poetaster in 2d vol. of Jonson 1815-1816.
Saunders Mrs. — ^her characters — see D. L. 1720-1721.
Sauny the Scot — altered from Taming of the Shrew — for the al«
terations, see D. L. 1698 — see also T. R. April 9 1667 —
L. I. F. AprU 7 and May 18 1725.
Savage— see D. L. June 12 1723.
Scanderbeg by Havard— G. F. March 15 1733.
Scanderbeg by Whlncop— see vol. 4 p. 227.
Scape Goat— C. G. Mov. 25 1825.
Scapin in Masquerade— D. L. Nov. 12 1803.
Scaramouch a Philosopher — T. R. 1677.
Schemers, or City Match— D. L. April 15 1755.
Schniederkins^C. G. Oct. 16 1812.
Schoolboy— D. L. Oct. 26 1702— L. I. F. Oct. 20 1731 — C. G.
Feb. 16 1742— D. L. March 21 1743— C; G. Oct. 15 X754—
— D. L. March 26 1763— D. L. March 30 1785^
Schoolboy's Mask— «ee vol. 10 p. 171.
Digitized by VjOOQ IC
ex INDEX*
School for Arrogance— a G. Feb. 4 1791— in 8 aete C. G. Oct. 8
1793.
School for Anthora — C. G. C. Dec. 5 1808— .D. L. Oct. 21 1813.
School for Eloqaence — D. L. April 4 1780.
School for Fathers — see Lionel and Clarissa.
School for Friends — D. L.. Dec 10 1805.
School for Gallantry— D. L. May S 1828.
School for Greybeards — D. L. Nov. 25 1786— Bath Oct. 28
1813.
School for Grown Children— C. G. Jan. 9 1827.
School for Guardians — 0. G. Jan. 10 1767.
School for Honour — see Disbanded Officer Hay. Joly 23 1786.
School for Lorers— D. L. Feb. 10 1762— D. L. Oct. 24 1775—
D. L. Dec. 19 1794.
School for Prejadice—C.G. Jan. 3 1801— Hay. July 9 1805 —
D. L. June 28 1814— C. G. June 10 1814.
School for Rakes— D. L. Feb. 4 1769— D. L. April 26 1776.
School for Scandal— D. L. May 8 1777— Hay. Sep. 2 1785—
D. L. AprU 8 1797— D. L. May 18 1798— C. G- Mareh 31
1798— C.G. May 30 1810— C.G. March 23 1813— C. G
Sep. 10 1818— D. L. Dec. 1 1825.
School for Vanity— D. L. Jan. 29 1783.
School for Widows — C. G. May 8 1789.
School for Wires— D. L. Dec. 11 1773— C. G. May 2 1777—
C. G. May 11 1782— D. L. April 28 1788— C. G. Jan. 22
1794— C. G. May 10 1800— D. L. April 26 1813.
School for Women F.— C G. March 19 1735.
School of Compliment — see vol. 1 p. 79 — for the plot see voL 9 p.
645.
School of Reform— C. G. Jan. 15 1805^Bay. Sept. 11 1806.
School of Shakspeare— Hay. Aug 7 and 17 1781— Hay. Aug. SO
1796— D. L. May 31 1808.
Scipio Africanus— L. I.;,F. Feb. 18 1718.
Scornful Lady— T. R. Dec. 27 1666—L. I. F. Dec. 10 1702—
D. L. Alarch 27 1708— D. L. March 17 1748— for the pfet
see Capricious Lady, C. G. Jan. 17 1783.
Scotch Figgaries — ^see vol. 10 p. 76.
Scottish Stage — see vol. 7 p. 119.
Scowrers— T. R. 1691— D. L. Aug. 22 1717.
Seaman's Return — see vol. 10 p. 203.
Search after Happiness -see vol. 10 p. 189.
Digitized by VjOOQ IC
INDEX. CXI
Sea-side Hercsee vol. 10 p. 226.
Sea-tide Story— G. 6. May 12 1801.
Sea Voyage (as Oommoiiwealth of Women) — T. R. 1685— D. L.
June 26 1708— L.I. F. March 19 1716— D. L. June 20 1721
— D- L. April 21 1746.
Sebastian — see voL 10 p. 188.
Seceding Actors from D. L. opened Hay. in the latter part of
1733— as the Comedians of his Majesty's Rerels.
Second Maiden's Traged]r-see Old Pkys L823-1824.
Second Marriage— see Mss Baillie end of 1811-1812.
Second Thought is best— D. L. March 30 1778.
Secret— D. L. March 2 1799.
Secret Expedition— see toI. 10 p. 179.
Secret Love, or Maiden Qneen- T. R. March 2 1667— D. L.
March 26 1706.
Secret Mine— €. G. April 24 1812.
Secret Tribonal — C. G. Jane 3 1795.
Secrets worth Knowing— C. G. Jan. 11 1798— C G. June 12
1807— Hay. Sep. 8 1815— Hay. July 17 1829.
SecnUr Masque, by Dryden — see Pilgrim D. L. 1700.
Sedley (or Sidley)— Sir Charles— see Mulberry Garden— T. R.
May 18 1668.
Seduction— D. L. March 12 1787.
See if you like it, or *Tis all a Mistake— F. in 2 acts taken from
Comedy of Errors— C. G. Oct. 9 1734.
Seeing is Belieying— Hay. Aug. 22 1783— D. L. May 7 1788—
D. L. June 26 1813.
Sejanus — see T. R. 1682.
Self Sacrifice— see D. L. Feb. 22 1819.
Selima and Azor— D. L. Dec. 5 1776— D. L. Feb. 7 1788— C. G.
Oct. 6 1800.
Selindra— see vol. 1 p. 347.
Selmane— see vol. 10 p. 193.
Semiramis— D. L. Dec. 13 1776.
Seneca — see vol. 6 p. 245.
Sentimental Comedy — see D. L. May 12 1768 — and Hay. April
16 1773.
Sentimental Mother — see vol. 10 p. 198.
Separate Maintenance — Hay. Aug. 31 1779.
Separation and Reparation — Hay. July 1 1830.
Sequel to Flora, or Hob's Wedding— L. I. F. March 20 1732.
Digitized by VjOOQ IC
CXU INDEX.
Seraglio, by Dibdin— C. G. Nov. 14 1776.
Seraglio, by Dimond— €. G. Nor. 24 1827.
Seif-C. G. Jan. 23 1828.
Serjeant's Wife— C. G. Oct. 19 1827.
Sertorias— T. R. 1679.
Sesostria— L. I. F. Jan. 17 1728.
Sethona— D. L. Feb. 19 1774.
Seven Champions of Christendom— see vol. 10 p 108.
Seventeen Hundred and Eighty One— C. G. April 28 1781,
Seymour Mrs.— her characters — L. I. F. 1722-1723.
Shadwell — see Epsom Wells D. G. 1672 — ^Vindication of him at
end of 1692.
Shaftesbury Earl of— «ee Siege of Constantinople D. G. 1674—
Loyal Brother T. R. 1682— Venice Preserved D. 6. 1682
—Albion and Albanius T. R. 1685.
Shakspeare — see vol. 9 p. 577.
Shakspeare Restored— Theobald had a bt. at D. L. May 24 1727
—he was announced in the bill as author of Shakspeare
Restored.
Shakspeare's Early Days— C. G. Oct. 29 1829.
Shakspeare versus Harlequin— D. L. April 8 1820.
Sham Beggar — see vol. 10 p. 178.
Sham Fight— see vol. 10 p. 178.
Sham Lawyer by Drake— D. L. 1697.
Sharp and Flat— Bath March 21 1826.
Sharpset, or Village Hotel— D. L. 0. May 15 1809.
Sheep-shearing, or Florizel and Perdita, by Morgan— C.G. March
25 1754— C. G. March 13 1758— D. L. April 12 1774—
C.G. Feb. 11 1790— C. G. May 12 1798.
Sheep-shearing (new alteration) — ^see end of Hay. 1777 — Hay.
Aug. 20 1783.
She Gallant— new Farce for Ross' bt. — C. G. March 1759.
She Gallants, by Granvilo— L. I. F. 1696— D. L. March 13 and
April 5 1746.
Shepherd Charles— see end of D. L. 1743-1744.
Shepherd Boy— C. G. Oct. 11 1827.
Shepherdess of Cheapside— D. L. Feb. 20 1796.
Shepherdess of the Alps — C. G. Jan. 18 1780.
Shepherd of Derwent Vale— D. L. Feb. 12 1825.
Shepherd's Artifice— C. G. May 21 1764.
Shepherd's Holiday — see vol. 7 of Dodsley 1744-
Digitized by VjOOQ IC
INDEX, CXlll
Shepherd's Lottery — D. L. Nov. 19 1751.
Sheridan^s Ist app. in England— C. 6. March 31 1744.
Sheridan R. B. — see vol. 8 p. 362.
She's Eloped— D. L. May 19 1798.
She Stoops to Conquer — C. 6. March 15 1773 — Hay. Jane 9
1777— C. G- March 11 1788— D. L. May 26 1790— C. G.
Sep. 24 1794— Hay. June 20 1797— a G. Sep. 19 1798—
D.L. May 21 1800— D. L. Dec. 30 1813— Hay. July 1
1814— C. G. Oct. 14 1817 — D. L. Jan. 28 1823— C. G.
March 12 1825.
She Ventures and he Wins— L. I. F. 1696.
She wou'd and she wou'd not — D. L. Nov. 26 1702 — D. L. May
20 1715— D. L. May 5 1727 —L. I. F. Nov. 25 1731—
D. L. Nov. 14 1738— D. L. Jan 18 1748— CO, Dec. 10
1750— C. G. March 21 1763— D. L. Oct. 22 1764 --C. G.
Oct. 3 1769— D. [.. Nov. 23 1775— C. G. Feb. 6 1778—
C. G. Oct. 1 1783 — D. L. Feb. 27 1786— D. L. May 24
1797— D. L. May 12 1802— C. G. Nov. 6 1805— D. L. C.
Jan. 13 1812—1). L. May 29 1817— C. G. Nov. 3 1818—
U. L. Oct. 26 1825.
She wou'd if she cou'd — L. I. F. 1668 — Hay. Dec. 5 1706—
D. L. Dec 5 1716— L. I. P. March 21 1726— D. L. April
28 1732— C.G. Dec. 8 1733— C. G. Dec. 21 1750.
Ship and Plough- C. G. May 31 1804.
Ship Launch— D. L. May 17 1804.
Shipwreck (altered from the Tempest)— see vol. 10 p. 193.
Shipwreck, by Efyland — see vol. 10 p. 173.
Shipwreck Mus. Ent. — D. L. Dec. 20 1796.
Shipwreck T.— C. G. Feb. 10 1784.
Shirley James — see vol. 9 p. 541.
Shoemaker's a Gentleman— see vol. 10 p. 67.
Short Reign and a Merry one— C. G. Nov. 19 1819.
Shuter — ^his characters — C. G. 1775-1776.
Sibyly or Elder Brutus — see — D. L. Dec. 3 1818.
Sicelides— see vol. 10 p. 103.
Sicilian Lover— see vol. 10 p. 204.
Sicilian Romance — C. G. May 28 1794.
Sicily and Naples — see voL 10 p. 115.
Siddons Henry — ^his 1st app. C. G. Oct. 8 1801.
Siddons Mrs. — ^unjust attack on her, see D. L. Oct. 5 1784— her
characters C. G. 1811-1812.
Siege, by Davenant— see vol. 10 p. 83.
Digitized by VjOOQ IC
CXU INDEX.
Siege— see Miss Baillie end of 1811-1812.
Siege, or Loto's Conrert — see toI. 10 p. 64.
Siege and Surrender of Mens— see voL 10 p. 150.
Siege of Aqoileia— D. L. Feb. 21 1760.
Siege of Babylon— D. 6. 1677.
Siege of Belgrade— D. L. Jan. 1 1791— C. G. March 15 1802—
C. 6. Joly U 1815.
Siege of Berwick— C. G. Nov. 13 1793.
Siege of Calais — see toI. 10 p. 182.
Siege of Carthage— see vol. 10 p. 235.
Siege of Constantinople— D. 6. 1674.
Si^e of Cnraola — Hay. Aug. 12 1786.
Siege of Cnico— see vol. 10 p. 220.
Siege of Damascus— D. L. Feb. 17 1720— G. G. March 15 1733
— D. L. March 22 1735— C. G. Jan. 5 1743— C. G. Dec 5
1751— D. L. Nov. 18 1758 — C. G. May 15 1765 — D. L.
Nor. 8 1766— D. L. Jan. 27 1770-C. G. March 24 1772—
C. G. Feb. 28 1785— C. G. Dec. 22 1812.
Siege of Gibraltar— C. 6. AprU 25 1780,
Siege of Meaoz— C. G. May 19 1794.
Siege of Memphia-..T. R. 1676.
Siege of Rhodes— see L. I. F. July 2 1661— for the plot see voL
10 p. 81.
Siege of St. Qnintin— D. L. Not. 10 1808.
Siege of Sinope— C. G. Jan. 31 1781.
Siege of Tamor — see rol. 10 p. 189.
Siege of Urbin — see toI. 10 p. 140.
Sigesmar the Switzer— D. L. Sep. 26 1818.
Sighs— Hay. Joly 30 1799.
Silent Womai^— T. R. Jane I 1664— Hay. Jan. 1 1707 — D. L.
Oct. 9 1731— D. L. Feb. 18 1738— C. G. April 17 1745—
— D. L. Oct. 26 1752— D. L. Jan. 13 1776— C. 6- April
26 1784— for the plot see D. L. Jan. 13 1776.
Silver Tankard— Hay. July 18 1781.
Silvia, or Country BoriaL— L. I. F. Nov. 10 1730— C. G. March
18 1736.
Simmons (Actor)— C. G. 1819-1820.
Simons (Irish Gentleman) — see D. L. April 16 1792 — C. 6.
Apni 19 1799.
Simpson and Co.— D. L. Jan. 4 1823— C. G. Jan. 9 1824.
Sir Anthony Love— T. R* 1691.
Digitized by VjOOQ IC
INDEX* ear
Sir Bamaby Whigg— T. R. 1681.
Sir CourUy Nice — T. R, 1685 — Hay. Nov. 22 1706— D. L
Oct. 7 1718 — D. L. April 14 1746— C. G. Jan. 25 1746—
D. L. Oct. 17 1751— C. 6. March 27 1764— C. G. April 26
1770— C.G.April 28 1781.
Sir Gyles Goose-cappe— see vol. 10 p. 93.
Sir Harry Graylove — see vol. 10 p. 188.
Sir Harry Wldair— D. L. 170 1~L. L P. Feb. 1 1737.
Sir Hercules Buffoon— T. R. 1684.
Sir John Cockle at Coart— D. L. Feb. 28 1738 — Hay. Aug. 28
1787.
Sir John Oldcastle— «ee end of D. L. 1713-1714.
Sir Martin Marrall— L. I. F. Aug. 16 1667— Hay. July 26 1707
— D, L. Dec. 4 1710— D. L. July 2 1717.
Sir Patient Fancy— D. G. 1Q78.
Sir Roger de Coveriy- D. L. Dec 30 1746.
Sir Solomon— L. T. F. 1669— L. I. F. Feb.— 1704— D. L. March
11 1707— D. L. May 21 1714.
Sir Thomas More— see voL 10 p. 199.
Sir Thomas Overbury- D. L. June 12 1723— altered at C. G.
Feb. 1 1777.
Sir Walter Raleigh— L. I. F. Jan. 16 1719 — L. I. F. Sept 17
1729--D. L. Sep. 24 1739— D. L. Dec 14 1789.
Sister— C. G. Feb. 18 1769.
Sisters by Shirley — revived with alterations at L. I. F. Nov. 28
1723.
Sisters (translation)— see vol. 10 p. 261.
Six Physicians— C. 6. Nov. IS 1818.
Sixty-third Letter— Hay. July 28 1802.
Sketch of a Fine Lady's Return from a Rout — D. L. March 21
1763.
Shnderer— see Hay. July 29 1825.
Slave— C. G. Nov. 12 1816— D. L. May 31 1826 — D.L. Feb.
18 1829.
Sleeping Beauty^D. L. Dec 6 1805.
Sleeping Dranght-^D. L. April 1 1818.
Sleep Walker— Hay. June 15 1812.
Slighted Maid— L. L F. 1663.
Slingsby Lady— her characters— T. R. 1685.
Slip— L. I. F. Feb. 3 1715.
Small Talk, or Westminster Boy— C. G. May 11 1786.
Digitized by VjOOQ IC
CXVl INDEXr
Smiles and Tears ^C. G. Dec. 12 1815.
Smith William— his characters L. I. F. 1696.
Smith's characters — D. L. 1787-1788.
Smuggrlers— D. L. April 13 1796.
Snake in the Grass — see vol. 10 p. 180.
Snakes in the Grass — D. L. Nor. 3 1829.
Socrates hy Becket — see vol. 10 p. 226.
Socrates hy Voltaire — see vol. 6 p. 174.
Soldier's Daughter— D. L. Feb. 7 1804— Hay. July 4 1 809— C. G.
July 2 1811— C. G. Jan. 8 1817— Hay. July 20 1819.
Soldier's Fortune— D. G. 1681— D. L. March 9 1708— D. L. Jan.
17 1716 — L. I. F. Jan. 9 1722 — C. G. March 8 1748 as
Farce in 2 acts.
Soldier's Return— D. L. April 23 1805.
Soldier's Stratagems — C. G. Nov. 6 1828.
Soliman and Perseda — see Hawkins 1773.
Solon — see vol. 10 p. 152.
Something to do — D. L. Jan. 22 1808.
Somewhat^see vol. 10 p. 179.
Somnambulist— C. G. Feb. 19 1828.
Son in Law— Hay. Ang. 14 1779— C. 6. April 30 1781— D. L.
Jan. 1 1796— C. G. AprU 30 1799— C. G. Oct. 22 1807—
Hay. July 181820.
Sons of Erin— D. L. C April 11 and IS 1812.
Sons, or Family Feuds — see vol. 10 p. 230.
Sophister— see vol. 10 p. 111.
Sophonisbaby Lee— T.R. 1676— Hay. Aug. 1 1707— D. L. Feb.
1 1725— L. L F. AprU 11 1726— L. I. F. March 15 1735.
Sophonisba by Thomson — D. L. Feb. 28 1730.
Sophy — see vol. 10 p. 119.
Sorrows of Werter, or Love, Liquor, and Lunacy — Hay. Sep. 19
Sorrows of Werther— C. G. May 6 1818.
South Briton— C. G. April 12 1774.
Sowerby— Bath Dec 21 1809— D. L. May 29 1813.
Spanish Barber— Hay. Aug. »0 1777 — D. L. April 21 1788—
D. L. Nov. 16 1795.
Spanish Bonds— Hay. Ang. 2 1823.
Spanish Curate— L. I. F. Nov. 17 1722— as Farce D. L. Od 19
1749— C. G. May 10 1783.
Spanish DoUars— €. G. May 9 1805.
Digitized by VjOOQ IC
INDEX. CXVll
Spanish Fryar— D. G. 168l_T. R, end of 1689— Hay. Nor. 7
1710— L, I. F. March 15 1722— D. L. Oct. 9 1734 — C. G.
April 17 1738— C. G. April 8 1755_D. L.Feb. 23 1767—
C. G. April 19 1774— D. L. Dec. 22 1778— Hay. (in 3 acts)
Ang 22 1780— C. G. Dec. 12 1780-Hay. May 23 1787.
Spanish Gipsy-see vol. 4 of Old Plays 1814-1815.
Spanish Husband — D. L. May 25 1830.
Spanish Lady— C. 6. May 2 1765— C. 6. Dee. 11 1769.
Spanish Rogue— T. R. 1674.
Spanish Tragedy— see Reed at the end of 1743-1744.
Spanish Wives—D. G. 1696— D. L. July 14 1703— D. L. June
26 1711— L. I. F. Aug. 12 1726.
Sparagus Garden — see L. I. F. 1665 — for the plot see vol. 10
p. 40.
Sparks— his characters C. G. 1764-1765.
Spartan Dame — D. L. Dec. 11 1719.
Spectre Bridegroom — D. L. July 2 1821.
Speculation— C. G. Nov. 7 1795.
Speechless Wife— €. G. May 22 1794.
Speed the Plough— C. G. Feb. 8 1800— Hay. Aug. 4 1803—
D. L. Oct. 4 1813— D, L. Nov. 1 1819.
Spendthrift, by Draper— Hay. 1731.
Spendthrift from the French-* see vol. 10 p. 259.
Spiller's Advertisement for his bt. — L. I. F. March 31 1720—*
his characters L. I. F. 1729.1730.
Spirit of Contradiction— C. G. March 6 1760.
Spirits of the Moon — C. G.April 19 1824.
Spiritual Minor-^see vol. 10 p. 180.
Spleen, or Islington Spa— D. L« March 7 1776.
Spoil'd Child— D. L. March 22 1790— C. G. Oct. 10 1798.
Spouter, or Double Revenge— see vol. 10 p. 178.
Spouter, or Triple Revenge— see end of D. L. 1755-1756.
Sprigs of Laurel— C. G. May 11 1793— see Rival Soldiers.
Spring and Autumn — Hay. Sep. 6 1827.
Spring (Pastoral)— D. L. Oct. 22 1762.
Squire Basinghall- C. G. July 23 1735.
Squire Brainless, or Trick upon Trick— D. L. April 27 1710.
Squire of Alsatia— T. R. 1688— D. L. April 26 1708— L. I. F.
Nov. 24 1719— D. L. Oct. 20 1720— D. L. Oct. 23 1736
— C. G. Feb. 28 1744— D. L. Dec. 28 1748— D. L. May 2
1758— C. G. Nov. 18 1763.
Digitized by VjOOQ IC
CXVUI INDKX.
Squire Oldsapp—D. 6. 1678.
Squire Trelooby— L. I. F. March SO 1704— with new 2d act
Hay. Jan. 28 1706.
Stage Beaux tossed in a Blanket— see rol. 10 p. 151.
Stage Coach— L. I. F. Feb. 2 1704— D. L. May. 17 1700— «.F-
Feb. 22 1731— D. L. Dec. 30 1745— D. L. May 11 1764—
C. G. AprU 16 1787.
Stage Mutineers— C. G. Oct. 31 1733— C. G. July 28 1735.
Stage Struck Hero— D. L. June 18 1813.
Stanley — see toL 8 p. 693.
Staple of News— see vol. 5 of Ben Jonson 1815-1816.
State of Innocence by Dryden — see end of 1675.
State of Physick— see vol. 10 p. 171.
State Secrets— C. G. June 12 1821.
Statesman Foiled— Hay. July 8 1768.
Statute— see vol. 10 p. 191.
Steele joined in Licence and Patent with Wilks, && in 1714-1715
— for Steele and Lord Chamberlain see end of D. L. 1719-
1720— for his death see D. L. 1729-1730.
StelhiP-see vd. 10 p. 207.
Stella and Leatherlungs— D. L. Oct. 1 1823.
Stephens the Button-maker— -his 1st app. at C. G. Oct. 19 1734.
Step-mother^ by Earl of Carlisle — see vol. 10. p. 221.
Step-mother (C. in one act) — ^C. G. Oct. 22 1828.
Steward— C. 6. Sept. 15 1819.
Stolen Heiress— L. I. F, Dec 31 1702.
Stone Eater— D. L. May 14 1788.
Strange Discovery— see vol. 8 p. 328*
Stranger (not acted) — see toL 10 p. 207^
Stranger- D. L. March 24 1798— C. G. Jan. 27 1801— Hay.
Aug. 18 1803— C. G. Feb. 4 1815— D. L. Nov. 5 1828.
Strangers at Home— D. L. Dec. 8 1785— D. L. March 9 1789—
as Farce D. L. May 29 1800.
Stratagem altered from Farqnhar.^Hay. Aug. 26 1735.
Stratagem— see Beaux Stratagem.
Streanshall Abbey — see vol. 10 p. 215.
Strollers— D. L. July 16 1723.
Stroller's Pacquet Opened— see vol. 8 p. 331.
Students— altered from Love's Labour Lost— see vol. 10 p. 180.
Students of Salamanca— C. G. Jan, 28 1813.
Digitized by VjOOQ IC
INDEX. CZIZ
SaUime and Beaatiful— C. G. Dec 5 1828.
Saceessful Pirate— D. L. Not. 7 1712.
Sooeessfiil Strangen— T. R. 1890— D. L. Joly 20 1708.
Soocess no certain criterion of merit — see voL 9 p. 584.
Soch things are— C. 6. Feb. 10 1787— C. 6. April 28 1804—
Hay. July 13 1812— Hay. Joly 17 1818— Hay. Joly 31 1824.
Such things hare been-C. O. March 31 1789.
Sachthingswere— Bath Jan. 1 1788— D. L. May 2 1796.
Sudden Arrivals— D. L. C. Dec. 19 1809.
Suetf 8 characters— D. L. 1804-1805.
Suicide-Hay. Joly 11 1778— Hay. Jane 19 1790— D. L. Dec.
30 1795— Bath May 17 1800— Hay. Aug. 29 1820.
SuUen Lovers— L. I. F. May 5 1668— L. 1. F. Oct. 5 1703.
Saltan, or Love and Fame— Hay. 1769.
Saltan (F)— D. L. Dec 12 1775— C. 6. Dec 20 1782— D. L.
Jone 2 1817*
Boltaness— D. L. Feb. 25 1717.
Summer Amusement— Hay. July I 1779.
Summer Flies — Hay. Jane 16 1823.
Summers Mrs*— see end of Bath 1819-1820.
Summer's Tale— C. 6. Dec. 6 1765.
Sun's Darling — see Ford's works 1811.
Sunshine after Rain— C. G. April 16 1799.
Supposes — see Hawkins 1773.
Surprisal— T. R. 166&— D. L. Aug. 19 1715.
Surrender of Calais — Hay. July 30 1791— D. L. G. March 29
1792— C. 6. May 16 1805— D. L. May 30 1814— D. L.
June 5 1823.
Suspicious Husband— C. G. Feb. 12 1747— D. L. Dec 4 1747
— D. L. Aug. 18 1768— C. G. March 20 1775— D. L. May
23 1778— C. G. Nov. 7 1785— C. 6. Sep. 20 1793— Bath
Jan. 11 1814— D. L. Sept. 23 1817— D. L. Oct. 11 1819—
Bath April 25 1823— C. 6. May 20 1829.
Suspicious Husband Criticized — D. L. March 24 1747.
Swaggering DamselL— see vol. 10 p. 116.
Swedish Patriotism— C. G. May 19 1819.
Sweethearto and Wives — Hay. Joly 7 1823.
Swetnam the Woman-Hater arraigned by Women soo vol. 10
p. 100.
Swindler— see vol. 10 p. 194.
Swindlers— D. L. April 25 1774— D. L. C. April 12 1792.
Digitized by VjOOQ IC
CXX INDEX.
Swiney— see vol. 2 p 503.
SwitsEerland— D. L. Feb. 15 1819.
Sword of Peace— Hay. Aug. 9 1788— Bath March 23 1809.
Sylla— see vol. 10 p. 178.
Sylvester Daggerwood — D. L. April IS 1796.
Syrens— C. G. Feb. 26 1776.
T.
Tag in Tribulation— C. G. May 7 1799— Bath May 23 1812.
Tailors -Hay. July 2 1767— Hay. May 28 1777— Hay. July 29
1780— D.L. April 20 1785- Hay. Aug. 15 1805— Bath
April 6 1813.
Tale of a Tub — see vol. 6 of Ben Jonson 1815-1816.
Taleof Mystery— C.G.Nov. 13 1802— Hay. Aug. 23 1803—
— D. L. Dec 4 1817— C. G. June 19 1821.
Tale of other Times— D. L. Dec. 19 1822.
Tale of Terror— C. G. May 12 1803.
Tambnrlaine by Marlowe— see vol. 9 p. 574.
Tamerlane by Saunders — T. R. 1681.
Tamerlane by Rowe — L. I. F. 1702 — D. L. Deo. 27 1716 —
L. I. F. June 4 1780 — D. L. Nov. 5 1744 — D. L. Nor. 4
1747— D. L. Nov. 4 1772— C. G. Nov. 4 1775— C. 6. May
1 1780— D. L. Nov. 4 1780 — C. G. Nov. 4 1790— D. L.
Feb. 3 1797 — C. G. June 3 1802— D. L. Nov. 6 1815 —
— C. G. Nov. 9 1819.
Tamer Tamed— D. L. April 30 1757.
Taming of the Shrew (Catharine and Petruchio) — C. G. Jane 25
1810— C. G. Sept. 16 1812.
Taming of the Shrew as Opera ^D L. May 14 1828.
Tancred and Gismunda — see llth vol. of Dodsley 1744.
Tancred and Sigismunda — ^D. L. March 18 1745 — D. L. March
7 1749— C. G. Oct. 14 1758— D. L. Oct. 14 1767— C. G.
April 14 1777— D. L. April 24 1784— C. G. March 1 1784
—Hay. July 12 1784— C. G. Jan. 10 1789— C. G. Dec. 21
1791— D. L. Feb. 23 1805— C. G. Nov. 26 1812— C. G.
May 24 1819.
Tanner of York— C. G. April 24 1738.
Tantara Rara Rogues All !— C. G. March 1 1788.
TartuflFe— T. R. 1670— L. I. F. June 20 1718.
Tarugo's Wiles— L. I. F. 1668.
Taste— D. L. Jan. 11 1-352— C. G. April 3 and 23 1756.
Tatlers— C. G April 29 1797.
Digitized by VjOOQ IC
INDEX. CXZl
Tayern Bilken— G. F. Jan. 13 1733.
Taxes— see toI. 10 p. 179.
Taylor Mrs— D. L. Sep. 29 1787.
Tea and Torn Oat— C. 6. May 28 1823.
Teasing made Easy— Hay. Jnly SO 1817— Hay. Sept. 7 1824.
TEXNOrAMiA — see vol. 10 p. 23.
Teddy the Tiler— G. 6. Feb. 8 1830.
Tekeli— D. L. Nov. 24 1806— C. 6. Jaly 11 1815— D. L. June
20 1817— D. L. March 8 1824.
Telegraph— O. G. April 8 1795.
Telemachus — ^by Graham — see rol. 10 p. 181.
Telemachns— Opera.— L. I. F. April 28 1732.
Telemachus — Opera in 2 acts — C. G. June 7 1815.
TeU Truth and Shame the Devil- C. G. May 18 1799.
Temper, or Domestic Tyrant— D. L. May 1 1809.
Tempest, by Dryden and Davenant — L. I. F. Nov. 7 1667 —
— D. G. 1673— L. I. F. Oct. 13 1702— D. L. June 4 1714
— D. L. Jan. 2 1729— D. L. Dec 26 1747.
Tempest by Shakspeare— D. L. Jan. 31 1746— D. L. Oct. 20
1757 — C. 6. Dec. 27 1776 — D. L. Jan. 4 1777 — D. L.
March 7 1786.
Tempest as Opera — D. L. Feb. 1 1 1756.
Tempest altered by Kemble— D. L. Oct. 13 1789 — D. L. Feb.
22 1797 — D. L. May 4 1799-C. G. Dec. 8 1806 — C, G.
Oct. 26 1812.
Tempest with additional music — C. 6. May 15 1821.
Temple Beau— G. F. Jan. 26 1730— Hay. Sept. 21 1782.
Temple of Dniness— D. L. Jan. 17 1745.
Temple of Love— Opera — Hay. March 7 1706.
Tender Husband— D. L. April 23 1705— D. L. Nov. 25 1738—
C. G. Nov. 20 1738— D. L. Nov. 24 1760—0. G. March
17 1760 — D. L. April 24 1760 — D. L. March 27 1770l—
D. L. April 28 1783— C.G. Dec. 6 1787 — C. G. Oct. 18
1791— D. L. C. Oct. 20 1792— D. L. May 17 1802— Bath
May 26 1823.
Teraminta, by Carey — see vol. 3 p. 355.
Terence— see end of 1764-1765.
Teresa Tomkins— Bath Feb. 4 1822.
Terry's characters— D. L. 1828-1829.
Test of Love— Hay. Aug. 17 1787.
Digitized by VjOOQ IC
CXKll INDEX.
Theatre — foi an aocoant of a paper published under that name bj
Steele, see tuI. 3 p. 21.
Theatre—Faroe so called— L. I. F. April 22 1720.
Theatre Royal was built by Killegrew, Ac., and opened April 8
1663 — it was burnt in 1671-1672 — a new Theatre was
opened March 26 1674— in 1696 it was called the Theatre
Royal in Drury Lane.
Theatres opened gratis on the Coronation of Oeorge the 4th
—July 19 1821.
Theatrical Candidates— D. L. Sept — 1775.
Theatrical Fund— see vol. 5 p. 609— C. G. June 7 1796 — C G.
May 2 1810— D. L. June 22 1813— C G. May 25 ISia—
D- L. July 4 1815.
Thelyphthora— C* G. March 8 1781— see Chit Chat C. G. April
20 1781.
Themistodes-L- L F. Feb. 10 1729.
Theodorick King of Denmark— see vol. 10 p. 177«
Theodosius— D. G. 1680— L. I. F. March 11 1717— D. L. April
23 1722— C. 6. March 16 1738- D. L- Dec. 15 1746—
— D. L. April 27 1768— D. L. Dec. 30 1772— C. G. April
22 1775— C. 6. Nov. 24 1780— C. G. Feb. 23 1786— D. L.
Jan. 20 1797.
Therese, or Orphan of Geneva— D. L. Feb. 2 1821— D. L. Dec
5 1828.
Thespis— see voL 5 p. 267*
The Two make a Pair— D. L. April 7 1827.
They've bit the Old One— C. 6. May 1 1798.
Thiema-na-oge— D. L. April 20 1829.
Thierry and Theodoret — see 10th vol. of Fletcher 1778.
Thimble's Flight from his Shopboard— Hay. Aug. 25 1789.
Third Theatre intended in 1810-181 1— see voL 8 p. 220.
Thirteen to the Dozen— Hay. July 28 1826.
Thirty Thousand— C. G. Dec 10 1804.
Thomas and Sally— C. G. Nov. 28 1760.
Thomaso^— see Rover D. G. 1677.
Tho' Strange 'tis True, or Love's Vagaries— L. L F. Mardi 23
1732i
Thracian Wonder— see vol. 6 of Old Plays 1814-1815.
Three and Deuce— Hay. Sept. 2 1795— D. L. Oct. 8 1795—
Bath March 8 1803— Hay. Aug. 19 1805— D. L. March 14
1818.
Three Deep— C. G. May 2 1826.
Digitized by VjOOQ IC
INDEX. CXXIU
Three Uonra after Marriage— D. L. Jan. 16 1717— D. L. March
15 1746.
Three Miles from Paris— C. G. Jan. 15 1818.
Three per Centa.^C. G. Not. 12 1803.
Three Strangers— C. G. Dec. 10 1825.
Three Weeks after Marriage— C. O* March 30 1776 — C. G. Oct.
11 1797— D. L.May 11 1801— Hay. July 7 1809.
Throw Physic to the Dogs— Hay. July 6 1798.
Thurmond Mrs.— her characters D. L. 1736-1737.
Thyestesyby Wright— see rol. 10 p. 148.
Thyestes, by Crown^T. R. 1681.
Tiberins in Ci^refls— see Cnmberland 1812-1813.
Timanthes— C. G. Feb. 24 1770— D. L. March 21 1775— Bath
Not. 7 1780.
Times—D. L. Dec. 2 1779.
Time's a Tell-tale— D. L. Oct. 27 1807.
Times, or a Fig for Invasion— see vol. 10 p. 205.
Timoleon— D. L. Jan. 26 1730— G. V. Feb. 20 1733— D. L.
March 28 1772.
Timon in Lore, or Innocent Theft — D. L. Dec 5 1733 — C. 6.
March 23 1736.
Timon of Athens, altered by Shadwell — D. G. 1678 — Hay. June
27 1707— D. L. Dec. 8 1720— C. G. May 1 1733— D. L.
March 20 1740— G. G. April 20 1745.
Timon of Athens altered by Cnmberland — D. L. Dec 4 1771.
Timon of Athens altered by Lore^see D. L. Dec. 4 1771.
Timon of Athens altered by Hull— G. G. May 13 1786.
Timon of Athens, by Shakspeare— D. L. Oct. 28 1816.
Timonr the Tartar— C G. April 29 1811.
Tis aU a Farce— Hay. Jane 17 1800— D. L. May 23 1803.
'Tis an ill wind blows nobody good_D. L. April 14 1788.
'Tis pity she's a Whore— see Ford's Works 1811.
'Tis well if it takes-L. I. F. Feb. 28 1719.
Tis well its no worse— D. L. Nor. 24 1770.
Tit for Tat— Hay. Ang. 29 1786 — D. L. May 7 1788 — C. G.
May 12 1788— Hay. July 19 1793.
Tittle Tatde— see rol. 10 p. 175.
Titos and Berenice— D. G. 1677.
Titos Andronicos— T. R. 1678 — D. h, Aog. 13 1717 — D. L.
Jnne 27 1721— L. I. F. Dec. 21 1720.
Digitized by VjOOQ IC
rzxiy index.
TitiisVe8pamaii--4ee D. L. Not. 15 1796.
Tobacconut— Hay. July 22 1771— D. L. April 17 1773 — C. G.
Nov. 22 1798— D. L. May 24 1815.
Tokely— Hay. June 16 1814.
Tom and Jerry— Bath Nov. 20 1822— C. O. June 4 1828 — ^D. L.
June 10 1829.
To Marry, or not to Marry — C. G. Feb. 16 1805.
Tombo-Chiqniy or American Savage— see yoL 10 p. 179*
Tom EsBence— D. G. 1676.
Tom Jones— C. G. Jan. 14 1769.
Tom Thumb— Hay. 1730— D. L. April 17 1740 — D. L. Oct. 9
1745.
Tom Thumb, Burlesque Opera— D. L. May 13 1775— altered by
O'Hara C. G. Oct. 3 1780 — Hay. Aug. 22 1781 — D. I#.
April 28 1784— Hay. July 27 1805— D. L. May 22 1806 —
C. G. May 16 1806— Bath April 11 1821 — C. G. Dee. 15
1828.
Ton— C. G. April 8 1788.
Tony Lumpkin in Town — Hay. July 2 1778.
Tony Lumpkin's Ramble to Town— G. G. April 10 1792.
Too Ciyil by Half-D. L. Nov. 5 1782.
Too Friendly by Half-C. G. Oct. 29 1807.
Too late for Dinner-C. G. Feb. 22 1820.
Too many Cooks— C. G. Feb. 12 1805.
Too much the Way of the World— see vol. 10 p. 234.
Torrendal — see Cumberland 1812-1813.
Tottenham Court — see vol. 10 p. 59.
Touch at the Times — C. G. July 6 1812.
Touchstone, or Harlequin Traveller — C. G« Jan. 4 1779.
Touchstone, or the World as it goes — D. L. May 3 1817.
Tournament — see vol. 10 p. 219.
Town and Country— C. G. March 10 1807— D. L. Feb. 13 1815
—Hay. Sep. 6 1815— Hay. Nov. 6 1824.
Town before You— C. G. Dec 6 1794.
Town Fop— D. G. 1676.
Town Shifts— L. L F. 1671.
Toy— C. G. Feb. 3 1789.
Toyshop— C. G. Feb. 3 1735— D. L. May 9 and 14 1757— D. L.
April 25 1785— D. L. May U 1789.
Tragedy a-la-Mode— Hay. 1764-
Digitized by VjOOQ IC
INDEX. CXXV
Tragedy of Ovid— see tuL 10 p. 141.
Traitor to Himself— see toI. 10 p. 143.
Transfomiatioiiy or Love and Law— D. L. C. Nov. 30 1810.
Transformation, or Manager an Actor in spite of himself— D. L.
April 26 1787.
Travellers (not acted) — see vol. 10 p. 198.
Travellers Benighted— Hay. Sep. SO 1811.
TraveUers in Switzerland — C. G. Feb. 22 1794— C. G. March
22 1808.
Travellers, or Music's Fascination — D. L. Jan. 22 1806 — D. L.
May 13 1823.
Traytor— T. R. 1692— altered at L. I. F. Oct. 11 1718.
Treacherous Brothers — T. R. 1691.
Tread Mill— Bath May 3 1823.
Trial by Jury- Hay. May 25 1811— G. 6. Jan. 5 1816.
Trial of Abraham— see vol. 10 p. 199.
Trial of Love— D. L. March 1 1827.
Trials of the Heart— D. L. April 24 1799.
Tribulation— Hay. May 3 1825.
Trick for Trick, by D'Urfey— T. R. 1678.
Trick for Trick, by Fabian— D. L. May 10 1735.
Trick for Trick, or Admiral's Daughter- C. G. July 2 1812.
Tricking's Fair in Love— C G. May 26 1814.
Trick to catch the old one^see L. L F. 1665 — ^for the plot see
vol. 8 p. 509.
Trick upon Trick, from Woman's Revenge -^ D. Is, Dec. 22
1789.
Triple Marriage — see vol. 10 p. 260.
Trip to Bengal— see vol. 10 p. 223.
Trip to Calais— see Hay. Aug. 17 1776.
Trip to Portsmouth— Hay. Aug. IL 1773.
Trip to Scarborough— D. L. Feb. 24 1777— D. L. Jan. 9 1786
— C. G. July 13 1811— D. L. Dec 6 1815— see Relapse.
Trip to Scotland — D. L. Jan. 6 1770 — C. G. April 16 1773—
D. L. April 15 1782.
Trip to the Nore— D. L. Nov. 9 1797.
Trip to Wales— D. L. Nov. 10 1826.
Tristram Shandy- G. G. April 26 1783— in one act C. G. April
12 1794.
Triumphant Widow— D. G. 1676.
Digitized by VjOOQ IC
CXXVl INDEX.
Triumph of Honour — Hay. Aug. 18 1783.
Triumph of Peace— Magque—D. L. Feb, 21 1749.
Triumphs of Love and Honour — D. L. Aug. 18 1781.
Triumphs of Virtue— D. L. 1697.
Troilns and Cressida, by Dryden— D. 6. 1679 — D. L. June 2
1709— L. I. F. Not. 10 1720— L. I. F, May 3 1723-C. O.
Dec 20 1733.
True-bom Irishman — C. 6. Not. 88 1767 — Bath March 26
1801.
True Briton— D. L. April 17 1782.
True Friends— Mus. Ent.— C. G. Feb. 19 1800.
True Patriotism— see toL 10 p. 214.
True Widow— D. G. 1679.
Try Again— Hay. June 26 1790.
Tryal— see Miss BaiUie 1811-1812.
Tryal of the Time-Killers— see toI. 10 p. 178.
Tryphon— L. I. F. Dec. 8 1668.
Tuckitomba— C. G. April 7 1828.
Tumble-down Dick, or Phaeton in the Suds — Hay. 1737.
Tunbridge Walks— D. L. Jan. 27 1708 — D. L. Dec. 9 1788—
C. G. March 8 1748— D. L. March 24 1764— Hay. Aug.
13 1782, in 3 acts.
Tunbridge Wells— D. G. 1678.
Turk and no Turk- Hay. July 9 1786.
Turkish LoTers — D. L. May 1 1827.
Turn Out— D. L. C. March 7 1812— C. G. June 16 1821.
Turnpike Gate— C. G. Nov. 14 1799— D. L. Not. 10 1818*
Turret Clock— D. L. Jan. 28 1818.
Tuscan Treaty, or Tarquin*s OTorthrow — G. G. Summer of 1738.
Tutor (a Burletta)-D. L. Dec. 14 1759.
Tutor (Farce)— D. L. Feb. 4 1765.
Tutor for the Beans— L. I. F. Feb. 21 1787.
'Twas I— C. G. Dec. 3 1825.
Twelfth Night— L. I. F. 1663— D. L. Jan. 15 and 17 1741—
• D. L. AprU 15 and 18 1746— D. L. Oct. 19 1763— D. L.
Dec 10 and 13 1771— C. G. May 6 1772— C. G. March 17
1777— Hay. Aug. 15 1782~C. G. May 7 1783— D. L-
NoT. 11 1785— D. L. May 17 1797— C.G. June 9 1801—
C. G. Jan. 5 1811— D. L. Jan. 6 1813.
Twelfth Night as Opera— G. G. Not. 8 1820— C. G. Jane 3
1826.
Digitized by VjOOQ IC
INDEX. CXXVU
Twelve Precbely— Hay. Oct. 11 1822.
Twenty per Cent— D. L. Nov. 2 1815.
Twenty yean ago — D. L. C. May 31 1811.
Twice Married and a Maid still^see vol. 2 p. 604.
Twin Adrentorers, or Blnndering Brothers — D. L. May 17 1710.
Twin Rivals— D. L. Dec. 14 1702— L. I. F. Nov. 3 1716— D. L.
Nov. 29 1726— D. L. Feb. 2 1736— C. G. April 12 1739—
C. G. Jan. 4 1755— D. L. Oct. 18 1758— C. G. Dec. 1
1769— D. L. April 5 1771— C. G. Oct. 21 1778— Bath
March 31 1812.
Twins— see vol. 10 p. 130.
Twins (F.>— D. L. April 8 1799.
Twixt the Cap and the Lip— Hay. June 12 1826.
Two Connoisseors— Hay. Sep. 2 1784.
Two Doctor Hobbs's- C. G. Jaly 1 1815.
Two English Gentlemen^see vol. 10 p. 190.
Two Faces under a Hood — C. G. Nov. 17 1807.
Two Foscari— see Lord Byron 1820-1821.
Two Friends (in 2 acts)— Hay. July 11 1828.
Two Friendsy or Liverpool Merchant— flee voL 10 p. 220.
Two GaUey Slaves, by • ♦ — D. L. Nov. 6 1822.
Two Galley Slaves, by Payne— C. G. Nov. 6 1822.
Two Gentlemen of Verona (altered by Victor) — D. L. Dec. 22
1762.
Two Gentlemen of Verona, by Shakspeare^-C G. April 13 1784
— D. L. Jan. 15 1790— a G. April 21 1808— Bath March
28 1822.
Two Gentlemen of Verona as Opera — C. G. Nov, 29 1821.
Two Gregories — D. L. Jane 14 1826.
Two Harlequins — see voL 2 p. 654.
Two Houses of Granada— D. L. Oct. 31 1826.
Two Misers— C. G. Jan. 21 1775— C. G. May 5 1790— D. L,
April 6 1816.
Two Mr. Browns^Bath May 6 1825.
Two Noble Kinsmen— see Rivals at L. L F. 1664— for the plot,
see vol. 10 p. 263.
Two Pages of Frederick the Great— C. G. Dec. 1 1821.
Two Queens of Brentford — see vol. 10 p. 156.
Two Sosias— Hay. Aug. 31 1792.
Two Strings to your Bow— G. G. Feb. 16 1791— Hay. July 1
1824.
Digitized by VjOOQ IC
C:CXVU1 INDEX.
Two to One— Hay. June 19 1784— Hay. July 23 1792.
Two Wives— D. L. June 2 1824.
Twould puzrie a Conjnror— Hay. Sep. 11 1824— Balh Feb. 7
1825— D. L. Jane IS 1829.
Tyrannick Love— T. R. 1669.
Tyrant King of Crete— see vol. 10 p. 150.
Tyrer Miss — her Ist app. at D. L. May 21 1801 — her last at
C. G. May 31 1822— «s Mrs. Listen.
U
Ugly Caub— D. L. Jnne 6 1798.
Ulysses— Hay. Nov. 23 1705— C. G. March 23 1756.
Unconscious Counterfeit — ^D. L. Feb. 9 1809.
UnderhiU— his bt. at D. L. June 3 1709, ^th the Tatler's recom-
mendation, &c. — his characters D. L. 1709-1710.
Undine, or Spirit of the Waters— C. G. April 23 1821.
Unfortunate Lovers— see L. I. F. Dec 3 1668— for the plot, see
vol. 10 p. 80.
Unfortunate Mother — see vol. 10 p. 60.
Unfortunate Usurper — see vol. 10 p. 138.
Unhappy Fwr Irene— see vol. 10 p. 134-
Unhappy Favourite, or Earl of Fssex, by Banks— T. R. 1682 —
Hay. Nov. 29 1706— D. L. Nov. 25 1709— L. 1. F. Oct. 27
1730— C. G. Oct. 9 1734.
Unhappy Kindness— D. L. 1697.
Unhappy Penitent— D. L. 1701.
Union of the 2 Companies — see end of 1682.
Union, or St. Andrew's Day— C. G. May 18 1791.
Universal Gallant— D. L. Feb. 10 1735.
Universal Passion— D. L. Feb. 28 1737.
Unjust Judge, or Appius and Virginia^L. I. F. 1670.
Unknown Guest— D. L. March 29 1815.
Unnatural Brother— L. I. F. 1697.
Unnatural Combat— see 1st vol. of Massinger 1805.
Unnatural Mother — L. I. F. 1698.
Unnatural Parents-see voL 10 p. 160.
Up all Night— D. L. C. Feb. 1 1810.
Upholsterer -D.L. March 30 1W8 _ D L. April 11 1760-
C G Oct. 26 1763 with alterations— C. G- Nov. 16 1775 —
c! g! Feb. 2 1791.
Ups and Downs-D. L. May 27 1828.
Digitized by VjOOQ IC
INDEX. CZXIX
Up to Town— C. G. Not. C 1811.
Urania— D. L. Jan. 22 1802.
Usorper, by Howard— T. R. 1667.
Usnrper, by Delap^see yoL 10 p. 224.
Utrom Horom — see vol. 10 p. 205.
V
Valentine and Orson— C. G. Aprils 1804— Hay. Oct. 11 1820
— D. L. Oct. 10 1825.
Valentia, or tbe Fatal Birthday— see yoI. 10 p. 188.
Valentine's Day (not acted) — see vol. 10 p. 230.
Valentine*s Day F.— D. L. March 22 1776.
Valentinian— T. R. 1684— Hay. Nov. 21 1706 — D. L.Jan. 28
1710.
Valeria^Hay. Sep. 15 1828.
Valiant Scot — see vol. 10 p. 107-
Valiant Welshman— L. I. F.May 19 1727.
Valley of Diamonds— D. L. Dec 26 1814.
Vampire— Bath Jan. 10 1821.
VandenhoflF— C. G. Dec. 9 1820.
Vanelia — see yoI. 10 p. 157.
Variety, by Duke of Newcastle— T. R. 1682.
Variety, by D. L. Feb. 25 1782.
Venetian Outlaw — D. L. April 26 1804.
Venetian Vagaries— C. O. June 7 1816.
Venice Preserved— D. G. 1682 — Hay. May 0 1707 — L. I. F.
Dec. 2 1721— D. L. Jan. 11 1738 — D. L. March 14 1743—
C. G. Oct. 1 1742— D. L. Feb. 16 1747— D. L. Feb. 8 1748
— C. G. Dec. 21 1752— C. G. Not. 23 1754— D. L. March
24 1769— D. L. March 17 1760--D. L. April 7 1770— C. 6.
Oct.. 28 1775— D. L. Dec. 14 1782 — C. G. Jan. 19 1785—
€. G. Feb. 25 1786 — D. L. Oct. 21 1795 forced to be kid
aside — C. G. Not. 17 1803 — Hay. Aug. 22 181 1 — C. G.
Not. 8 1811— D. L. AprU a 1829.
Venison Pasty— C. G. Not. 10 1821.
Venoni^D. L. Dec. 1 1808.
Venus and Adonis — see yoI. 10 p. 256.
Venus, Cupid and Hymen, Masque — D. L. May 21 1733.
Verbrnggen — his characters Hay. 1706-1707.
Verbruggen Mrs. — originally Mrs. PerciYal — and then Mrs-
Mountfort — ^for her characters, see end of D. L. 1703.
Digitized by VjOOQ IC
CJPLX INDEX.
Vertmnniis and Pomona— C. G. Feb. 21 1782.
Very Good Wife— T. R. 1693,
Very Woman — Bee vol. 4 of Massinger 1805.
Vespers of Palermo— C. G. Dec. 12 1823.
Vestal Virgin, by Howard— T. R. 1665.
Vestal Virgin, by Brooke— see his Works 1778.
Vestris Madame— see Bath April 11 1828— for her 1st app. al
D. L. see Feb. 19 1820.
Veteran, or Farmer's Sons— D. L. Feb. 23 1822.
Veteran Tar— D. L. Jan. 29 1801.
Vicar of Wakefield— Hay. Sept. 27 1823.
Vice Reclaimed — D. L. Jane 23 1703 — reTived as Qnakor's
Wedding at L. I. F. Oct. 22 1719.
Viceroy— see Hayley 1784.
Victim— D. L. Jan. 6 1714.
Victorious Lore — D. L. 1698.
Victor's Works — see end of 1776.
Victory and Death of Lord Nelson- D. L. Nov. 11 1805.
Village Coquette— D. L. C. April 16 1792.
Village Doctor (altered from World in a Village) — Hay. Aug.
14 1815.
Village Fete— C. G. May 19 1797.
Village Lawyer— Hay. Aug. 28 1787— Hay. July 22 1790— D. L.
Oct. 6 1795— C. G. Feb. 11 1804.
Village Maid— see vol. 10 p. 200.
Village Opera.— D. L. Feb. 6 1729.
Village, or World's Epitome— Hay. July 18 1805.
Villagers F.— D. L. March 23 1756.
Village Wedding— see vol. 10 p. 184.
Villain— see L. I. F. Oct. 20 1662 — for the plot, see toL 10 p.
246.
Vimonda-Hay. Sep. 5 1787.
Vindictire Man — D. L. Nov. 20 1806.
Vintagers-Hay. Aug. 1 1809.
Vintner in the Suds— D. L. April 25 1740 (only Woman's Re*
Tenge.)
Vintner Tricked (the same piece) — D. L. April 9 1746.
Virginia, by Crisp— D. L. Feb. 25 1754.
Virginia, Opera, by Mrs. Plowden — D. L. Oct. 30 1800.
Virginius, or Fall of the Decem?iri— D. L. May 29 1820.
Digitized by VjOOQ IC
INDBZ. CZXJU
VirginioB, by Knowles— C. G. May. 17 1820— D. L. Oct. 13
1823— C. G. Dec. 16 1828.
Virgin Martyr— T. R. Feb. 27 1668— for the plot see Ist vol. of
Massinger 1804-1805.
Viiginof theSun, by Reyoolds— C. G. Jan. 31 1812.
Virgin Prophetess— D. L. 1701.
Viigin Queen, by Barford— L. 1. F. Dec. 7 1728.
Virgin Qaeen, by Waldron — see rol. 10 p. 205.
Virgin Unmasked (originally Old Man tanght Wisdom) — D. L.
Jan. 6 1736— C. G. Sep 30 1743— D. L. Oct. 6 1759—
C. G. April 29 1768— Hay. May 19 1775— D. L. March
2 1786— G. G. Jan. 31 1786— G. G. Dec 18 1810.
Virgin liVidow— -see toL 8 p. 330.
Virtue Betrayed— D. G. 1682— D. L. Jnne 9 1703— D. L. Dec
3 1711— D. L. Jan. 9 1725-r-C. 6. March 17 1750— C. O.
April 10 1758— C. 6. AprU 1 1766.
Virtuoso-D. G. 1676-L. I. F.March 31 1705.
Virtuous Wife— D. G. 1680— Hay. June 18 1705.
Vision of the Sun, or Orphan of Pern- C. G. March 31 1823.
Vizard Masks — Queen Anne's command against wearing them in
the Theatres— see D.L. Jan. 24 1704— «ee also L. L F. June
1 1704.
Voice of Nature— Hay. July 31 1802— Hay. Sep. 8 1809.
Volpone, or the Fox— T. R. Jan. 14 1665— Hay. Dec. 3 1706
— L. I. F. Not. 15 1727— D. L. March 13 1735— C. G.
Oct. 23 1738— C. G. Nov. 26 1771— Hay. Sep. 12 1783—
D.L. Feb. 21 1785.
Voltaire— see end of 1779-1780.
Voluntary Contributions~C. G. May 12 1798.
Volunteers, by Shadwell— T. R. 1692— D. L. July 27 1711.
Vortigem— D. L. April 2 1796— see end of the season.
Vortimer— see vol. 10 p. 204.
Votary of Wealth— 0. G. Jan. 12 1799.
W
Wager, or Midnight Hour— D. L. Nov. 23 1825.
Walking Statue, or Devil in the Wine Cellar— D. L. Jan. 9 1710
— L. I. F. April 11 1726— G. G. March 28 1769— see DevU
in the Wine Cellar.
Walker's characters— G. F. 1741-1742.
Walks of Islington and Hogsdon — see vol. 10 p. 118.
Digitized by VjOOQ IC
tXXXa IHDBX*
Wallace, by Walker— C. G. Not. 14 1820.
Wallace, by • • Bath March 10 1823.
Walkick seemus to have made his Ist app. at D« L« Oct. 10
1812.
Wallis Miss— her characters— C. G. 1796-1797.
WaUoonft— C. G. April 20 1782.
Walti^see vol. 8 p. S61.
Wanderer--C. G. Jan. 12 1808.
Wandering Boys— C. G. Feb. 24 1814.
Wandering Jew— D. L. May SI 1797.
Wanted a Governess— «ee D. L. Jane 3 1818.
Wanted a Wife— D. L. May 3 1819— cat down to 2 acts Aog.
13 1821.
Wanton Gonntess — see vol. 10 p. 168.
Wanton Jesait— Hay. 1731.
Warde's Ist app. at Bath Dec. 28 1813— at C. G. Sept. 26
1825.
Warlock of the Glen— C. G. Dec. 2 1820.
Wary Widow— T. R. 1693, and vol. 10 p. 255.
Watch-Word, or Quito Gate— D. L. Oct. 19 1816.
Waterman— Hay. Ang. 17 1774— D. L. Dec. 6 1786— C. G.
June 5 1797— D. L. June 3 1822— D. L. June 8 1829.
Wat Tyler— D. L. Jan. 19 1733.
Wat Tyler, by Southey— see vol 10 p. 233.
Way of the World— L. I. F. 1700— D. L. Jan. 8 and Feb. 14
1718— C. G Dec 7 1732— D. L. March 17 1740l-.G. F.
Jan. 27 1742— D. L. Nov. 15 and 17 1750— D. L. Man^
16 1758— C. G. Nov. 24 1764— D. L. March 18 1771—
C. G. Nov. 2 1776— D. L. Dec. 31 1776— C. G. Dec 6
1782— C. G. Nov. 11 1784 — D. L. May 23 1787—
C. G. Dec. 18 1789— C. G. Nov. 7 1797— D. L. Nov. 22
1800.
Ways and Means — Hay. July 10 1788— D. L. June 12 1798—
C. G. Oct. 22 1819— C. G. AprU 26 1826.
Way to get Married— C. G. Jan. 23 1796 — ^D. L. June 17
1805— Hay. Aug. 28 1812— D- L. Oct 19 1813— D. L
Oct. 26 1819.
Way to get Unmarried-^C. G. March 30 1796.
Way to keep him, in 3 acts — D. L. Jan. 24 1760.
Way to keep him, in 5 acts — D. L. Jan. 10 1761 — C. G. March
24 1768— D. L. Oct. 31 1771— D. L. Maich 20 1776—
Digitized by VjOOQ IC
iND£x. cxxxm
C. G. Jan. 24 1776— C. G. March 6 1785— IX L. May 18
1780—0. G. Dec. 1 1 1789_C. G. Dec. 8 1797— D. L. May
10 1802— C. G. Feb. 5 1807— Hay. June 23 1810— U. G.
July 11 1811— C. G. Oct. 1 1818.
M^eakest goes to the Wall-see vol. 10 p. 90
Wealthy Widow— D. L. Oct. 29 1827.
Weathercock, Mus. Ent.— C 6. Oct. 17 1775.
Weathercock F — D. L. Not. 18 1805.
Webb Mrs — ^her characters— C. G. 1793-1794.
Wedding, by Hawker-L. I. F. May 6 1729.
Wedding, by Shirley — see vol, 9 p. 543.
Wedding Day, by Fielding— D. L. Feb. 17 1743.
Wedding Day, by Mrs. Inchbald— D. L. Nov. 4 1794— C. 6.
Oct. 12 1807.
Wedding Night — Mus. Ent. — see end of Hay. 1780.
Wedding, or Country Housewife*- see vol. 10 p. 158.
Wedding Present— D. L. Oct. 28 1825.
Wedding Ring— D. L, Feb. 1 1773.
Weeding of Covent Garden — see vol 10 p. 42.
We Fly by Night— C. G. Jan. 28 1806— C. G. April 29 1817.
Welch Heiress— D. L. April 17 1795.
Welch Opera — see Hay. July — 1731.
WeUs Mrs her Imitations, 0. G. April 25 1788 — her charac-
ters 1792-1793.
Werner— see Lord Byron 1820-1821 and Bath Feb. 10 1830.
Werter— Bath Dec. 3 1785— C. G. March 14 1786— C. G. Dec.
23 1795.
West Indian— D. L. Jan. 19 1771— C. G. Oct. 16 1773— C. G.
Feb. 22 1786— C. G. Oct. 21 1797— C. G. Dec. 23 1807.
Westmeon Village — see vol. 10 p. 193.
Westminster Hall in an Uproar — Hay. Aug. 16 1785.
Weston's characters — D. L. 1775-1776.
Weston*s return from the Universities of Parnassus — D. L. April
19 1775.
West Wind— Bath May 20 1815.
Wet Weather— Hay. July 20 1819.
What a Blunder 1— Hay. Aug. 14 1800— C. G. May 31 1803.
What d'ye call it ?— D. L. Feb. 23 1715 -L. I. F. April 2 10
— D. L. April 14 1738— C. G. April 28 1775— C. G. May
6 1782— Hay. Aug. 10 1784—0. G. April 19 1797.
What is She ?— C. G. April 27 1799.
Digitized by VjOOQ IC
CXXXIV INDEX.
What Next ?—D. L, Feb. 29 1816.
What's a Man of Fashion ?— C. 6. Not. 27 1815.
What we must al] come to — C. G. Jan. 9 1764 — see Three
Weeks after Marriage— C. G. March SO 1776 .
What will the World say ?— see rol. 10 p. 195.
What would the Man be at?— €. G. May 8 1801.
What you Will— see vol. 2 of Old Plays 1814-1815.
Wheel of Fortune— D. L. Feb. 28 1795— G. O. March 10 1804
— D. L. April 29 1815— D. L. June 17 1817.
When it takes place I shall keep my seat and get a Peep — C. 6.
July 7 1820.
When yon see me, Yon know me— see toL 10 p. 92.
Where shall I Dine?— C. G. June 18 1819.
Where to find a Friend— D. L. C. May 20 1811 — D. L. Not.
23 1815.
Whetstone's Park—see the end of Princess of GloTe D. G. 1681.
Which is my Cousin ''—Hay. Sept. 29 1825.
Which is the Man?-C. G. Feb. 9 1782— D. L. May 12 1808—
C. G. Dec. 17 1829.
Which is the Master (from Castle of Andalusia)— C. 6. May 15
1807.
Whig and Tory— L. I. F. Jan. 26 1720— D. L. July 25 1729.
Whim— see toL 10 p. 201.
Whincop's List of Dramatic Poets — see end of 1746-1747.
WTiisde for it— C. G. April 10 1807.
White DeTil— «ee T. R. 1682.
Wliite Lady— D. L. Oct. 9 1826.
White Lies— D. L. Dec. 2 1826.
White Maid— C. G.Jan. 2 1827.
White Plume— C. G. April 10 1806.
Who can I be ?— C. G. July 6 1818.
Who*dhaTe thought it?— C. G. April 28 1781.
Who pays the Reckoning ?— Hay. July 16 1795.
Who's Afraid? by Jodrell— see toI. 10 p. 195.
Who's Afraid? Hal Ha! Ha I-Hay. Sep. 12 1805.
Who's my Father ?— C. G. April 13 1818— Hay. Sep. S 1818.
Who's the Dupe ?— D. L. May 10 1779 — C G. May 8 1795 —
C. G. Feb. 3 1819l— Hay. July 17 1828.
Who's the Rogue ?— C. G. May 15 1801.
Who*s to haTe her ?— D. L. Not. 22 1813.
Digitized by VjOOQ IC
INDEX. CXZXV
Who's Who?— D. L. Nov. 15 1816.
Wlio wants a Guinea ?— C. G. April 18 1805— Hay. Sep 5 1812
— C. G. Jane 15 1814— D. L. May 28 1828.
WTio wants a Wife ?— C- G. April 16 1816.
Who Wins, or Widow's Choice— C. G. Feb. 25 1808.
Wioklow Mountains (altered from Lad of the Hills) — C. G. Oct.
10 1796— Hay. Aug. 28 1810.
Widow— see T. R. 1682.
Widow and no Widow— Hay. Jaly 17 1779.
Widow Bewitched— G. F. Jane 8 1730— D. L. April 26 1786.
Widow'd Wife— D. L, Dec. 5 1767.
Widow of Delphi— C. G. Feb. 1 1780.
Widow of Malabar~C. G. May 5 1790— C. G. May 23 1798.
Widow of Wallingford— see vol. 10 p. 190.
Widow Ranter— T. R. 1690.
Widows Betwitched— C. G. Feb. 3 1829.
Widow's only Son— C. G. Jane 7 1810.
Widow's Tears — see 4th vol. of Dodsley 1744.
Widow's Vow— Hay. Jane 20 1786.
Widow's Wish— see vol. 10 p. 172.
Wife for a Month — see Unhappy Kindness — D. L. 1697.
Wife in the Right— C. G. March 5 1772.
Wife of Bath— D. L. May 12 1713— revived with alterations at
L. I. F. Jan. 19 1730.
Wife of a Million — see vol. 10 p. 226.
Wife of Two Husbands— D. L. Nov. 1 L803— Bath Jan. 29 1823.
Wife's Relief— D. L. Nov. 12 1711 — L. I. F. Oct. 7 1715—
D. L. Oct. 13 1736— C.G. March 26 1761 — C. G. April
10 1782.
Wife's Stratagem— C. G. March 13 1827.
Wife to be Lett— D. L. Aag. 12 1723.
Wife well Managed— see end of D. L. 1714-1715— Hay. Aug.
27 1789.
Wigwam— C. G. April 12 1830.
Wild Gallant— see Vere Street 1662^ and T. R. 1667.
Wild-Goose Chase — ^T. R. Jan. 11 1668— for the plot, see D. L.
March 7 and 9 1747.
Wild-Goose Chace by Dunlap — see D. L. Feb. 1 1800.
Wild-Goose Chase by Jameson — D- L. Nov. 21 1S20.
Wild Oats— C. G. April 16 1791— Hay. Aug. 13 1805— D. L.
Digitized by VjOOQ IC
CXXXn INDEX.
Jan. 31 1814— Hay. July 22 1817 — D. L. Oct. 4 1819 —
C. G. Oct. 4 1827.
Wilkinson -see York Stage end of 1787-1788.
Wilks Robert — see end of D. L. 1698— for his characters, see
D. L. 1731- 1732.
Wilks William— D. L. Oct. 17 1715 disconraged by hU Uncle
from going on the stage.
Will— D. L. AprU 19 1797-D. L. Dec. 2 1799— C. G. Jane 28
1815— D.L. Oct. 17 1815— Hay. July 11 1820.
WiU and no Will— D. L. April 23 1746— D. L. March 22 1748.
WiU for the Deed— C. G. March 24 1804— Hay. Aug. 25 1806.
William and Nanny— C G. Nov. 12 1779.
Williams Joseph — ^his characters L. I. F. 1699.
Williams Charles— see D. L. May 31 1731.
William TeU—D. L. May 11 1825.
William Thompson-^Uay. Sep. 11 1829.
Wilmore Castle— D. L. Oct. 21 1800.
Wilson Mrs.— her characters — ^C. G- 1785-1786.
Wily Beguiled — see Hawkins 1773.
Windsor Castle— C. G. April 6 1795.
Wine does Wonders— Hay, July 19 1820.
Win her and take her— T. B. 1691.
Wintershall*s last app.—T. R. 1679.
Winter's Tale, by Shakspeare — G. F. Jan. 15 1741 — ^C. G. Nov.
11 1741 and Jan. 21 1742— C. G. AprU 24 1771 — D- L.
March 25 1802— C. G. Nov. 11 1807— C. G. Nov. 28 1811
—Bath April 27 1813— C. G. Jan. 7 1819— D. L. Nov. 3
1823— C. G, Dec. 5 1827.
Winter's Tale, altered by Garrick — D. L. Jan. 21 1756 — D. L.
Jan. 27 1762— C. G. March 12 1774— D. L. Nov. 20 1779
— C. G. May 19 1783— D. L. May 1 1788— C. G. May II
1792— C. G. Dec. 22 1795.
Wise Man of the East— C. G. Nov. 30 1799.
Wise Woman of Hogsdon — see vol« 9 p. 589.
Wish— Mus. Ent— D. L. May 2 1775.
Wishes— D. L. July 27 and 28 1761— C. 6. Oct. 3 1782.
Wit at a Pinch — see Lucky Prodigal.
Wit at several Weapons — see D. L. Jan. 11 1709.
Wit in a Constable— see L. I. F. 1665.
Wit of a Woman (F.)— L. I. F. June 24 1704.
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INDEX. CZZXTU
Wit withoat Money— T. R. 1672— Hay. Jan. 4 and May 25
1707— D. L. Oct. 8 1730 _ C. G. AprU 11 1738 — C. G.
April 11 1748— C. G. Jan. 28 1757.
Wit*s last Suke— D. L. April 14 1768— D. L. AprU 24 1799.
Wits— L. I. F. Aag. 15 1661- for the plot see Reed 1744.
Wits led by the Nose— T. R. 1677.
Witch — see vol. 6 p. 72.
Witch of Derncleugh-Bath Jan. 30 1822.
Witch of Edmonton— see Ford's Works 1811.
Witch of the Wood (F.)— C. G. May 10 1796.
Witches ( Pantomime) — D. L. Dec. 27 1762.
Witch-Finder— D. L. Dec 19 1829.
Witness — see vol 7 p. 135.
Witty (^ombat — see German Princess L. I. F. April 15 1664.
Witty Fair One—see vol. 1 p. 79.
Wives as they were, and Maids as they are — G. G. March 4 1797
—Hay. Aag. 24 1810— G. G. March 19 1825.
Wives Excuse- T. R. 1692.
Wives in Plenty, altered from Coquet — Hay. Nov. 23 1793.
Wives Revenged— C\ G. Sept. 18 1778— C. G. May 11 1790—
C.G.Nov. 5 1795.
Woffington Mrs. — her characters — C. G. J 756-1 757.
Woman Captain— D. G. 1680— D. L. March 21 1710_L. I. F.
June 29 1716— revived as Prodigal Hay. Oct. 10 1744.
Woman Hater — see 10th vol. of Fletcher 1778*
Woman made a Justice^L. I. F. 1670.
Woman killed with Kindness— see vol. 4th of Dodsley 1744.
Woman never Vext-C. G. Nov. 9 1824.
Woman's a Riddle-L. I. F. Dec. 4 1716— C. G. Jan. 19 1748—
D. L. Nov. 9 1759— D. L. March 12 1776— C. G. AprU
3 1780.
Woman's a Weathercock— see L. I. F. 1667— for the plot, see
vol. 10 p. 21.
Woman's Love— G. G. Dec 17 1828.
Woman's Prize, or Tamer Tamed— D. L. April 30 1757.
Woman's Revenge, or Match in Newgate— L. I. F. Oct. 24 1715
— L. I. F. Oct. 23 1730— see Match in Newgate.
Woman's Wit— D. L. 1697.
Woman tamed Bally— D. G. 1675.
Woman will have her Will — see vol. 10 p. 98.
t
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CXZXviii INDEX*
Women TBteware Women— see vol. 5 of Old Plays 1814-1815.
Women Pleased— D. L. Nov, 8 1743.
Women's Conquest— L. I. F. 1671.
Wonder— D. L. April 27 1714— G,F. Nov, 14 1733 — C. G.
Nov. 1 1734— D. L. Jan. 12 1744— C. G. April 15 174^-
C. G. March 25 1756 — D.L. Nov. 6 1156 — C.fJ. Tab.
17 1761 — C. G. Nov. 27 1767 — D. L. April 24 1769 —
D. L. Jan. 20 1775 — C. G. Oct. 20. 1775 — €.^G. I)«c. 3
1784 — D. L. Jan. 3 1787 — D. L. Jan. 10 1797 — C G.
June 7 1808— Hay. Ang. 5 l8l9— C. G. 6ct. ^2 1822.
Wonderof a Kingdom— sfee vol. 3 of Old^lays Igl4-l8l5.
Wonders in the Sun — Hay. April 5 1706.
Wood D»mon— D. L. April 1 '1807— Bath Jan. 7 liBl^.
Woodman— C. G. Feb. 26 1791.
Woodman's Hut— D. L. April 12 lfii4.
Woodstock— C. G. May 20 r8^6.
Woodward's characters— ^C.' 6. 17^6-1^^7.
Wool Gathering— D. L.Jan. 6 1826.
Word for Nature— D. L. Dec. 5 1798.
.Word for the Ladies— C.g/ Dec. 17 1818.
Word of Honour— C. G. May 26 1802.
Word to therWi^e — D. L. March 3 1770 — C. G. May 13 1777
—Bath Feb. 18 1796.
World — D. L. Matfch 31 1808— D.L. June l' 1815.
World as it goes— C. G. Fdb.-24 1781.
World and the Child— s%e Coiriei' 1744.
World in a ViUage— C.G.Nov. 23 1793.
World in the Moon— D; L. 1697.
Wouids of Civil War— see Collifer 174?*.
'WrahgliAg-i:oversJ-D;G.' 1676.
Wroughton's characters — D. L. 1814-1815.
X
Xerxes — L. I. F. 1699.
Ximena, or Heroick Daughter — Pjh- Nov 28' 17l2 — D. L
Nov. 1 1718 — C. G.JMarch 21 1772.
Ximenes — see vol. 10 p. 195.
X. Y. Z.— C. G. Dec U 1810 — C. G. June is' 1818 - Hay.
July 25 1818— D. L. March 3 1827.
Y
Yard-ann and Yard-arm (Interlude taken from *N6flej^AM*y)—
Hay. Sep. 8 1806.
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INCfEX. CXXXIX
Yates Richard — ^liis characters C. G. 1782-1783.
Yates Mrs. — her characters B. L. 1784-1785.
Yelva, or the Orphan of Russia— C. G. fVb. 5 1829.
Yes or No ? Hay. Aug. Si 11W8.
Yorkshire Tragedy— see end of D. L. T713.1714..
York Stage— see end of 1787-1788.
You must be Buried— Hay. Aug. 1 1 1827.
Young Charles — his 1st app. at Hay. June 22 1807— see Bath
March— 1«S0.
Young Mrs.— late Miss Biggs— see end of D.L. 1803-1804.
Young Admiral— see voL 9 p. 648.
Young Couple (F. from Discovery)— D. L. April 21 1767.
Young Hussar— D. L. March 12 1807.
Young Hypocrite— see vol. 10 p. 259.
Young King— D. G. 1679.
Young Men and Old Women— Hay. June 30 1792.
Young Quaker Hay. July 26 1783— Hay. Aug. 21 1795—
D. L. Nov. 22 1798— Hay. Aug. 8 1800— Hay. Aug. 23
1809— C. G. June 14 1811— Hay. Aug. 16 1819— Hay.
Aug. 14 1823.
Young Widow— Bath Dec. 1 1827.
Younge Miss— see Mrs. Pope.
Younger Mrs.— her characters— C. G. 1733-1734.
Younger Brother, by Mrs. Behn— D. L. 1696.
Younger Brother, or Sham Marquis — L. I. F. Feb. 7 1719.
Yours or Mine— C. G. Sept. 23 1816;
Youth, Love, and Folly— D. L. May 24 1805— Hay. April 27
1825.
Youth's Comedy — see vol. 10 p. 145.
Youthful Days of Frederick the Great— C. G. Oct. 2 1817.
Youthful Days of Mr. Mathews— Bath Nov. 9 1825.
Youthful Queen — D. L. Oct. 24 1828.
Zapphira— see vol. 10 p. 200.
Zara — D. L. Jan. 12 1736 — C. G. March 16 1751 _D. L.
March 25 1754— C. G. Oct. 30 1755— C. G. Dec. 3 1774
— D. L. March 7 1776— D. L. Dec. 15 1780— D. L. Oct. 10
1781— C. G. Jan. 10 1782— D. L. Nov. 17 1784— C. G.
Dec. 19 1796.
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7
Cxl INDEX.
Zelma—C. G. April 17 1792.
Zelman^— «ee end of L. I. F. 1704-1705.
Zembuca— C. G, March 27 1815.
Zenobiar— D. L. Feb. 27 1768— C. G. Not. 21 1778— C. G. May
5 1786— Bath April 4 1816.
Zingia — D. L. Dec. 17 1768.
Zobeide— C. G. Dec 11 1771.
Zoraida— D. L. Dec IB 1779.
Zorinskl— Hay. June 20 1796— C. G. April 26 1796— Hay. Sep.
S 1808 — Hay. Sep. 2 1811.
Zolieman — Bath March 12 1814.
Znma T.— see yoL 10 p. 220.
Zuma, or Tree of Health— C. G. Feb. 21 1818.
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